{"id":29582,"date":"2025-06-13T03:00:44","date_gmt":"2025-06-13T10:00:44","guid":{"rendered":"https:\/\/writersfunzone.com\/blog\/?p=29582"},"modified":"2025-06-09T05:56:48","modified_gmt":"2025-06-09T12:56:48","slug":"how-to-write-character-descriptions-without-falling-into-a-cliche-by-loretta-bushell","status":"publish","type":"post","link":"https:\/\/writersfunzone.com\/blog\/2025\/06\/13\/how-to-write-character-descriptions-without-falling-into-a-cliche-by-loretta-bushell\/","title":{"rendered":"How to Write Character Descriptions Without Falling into a Clich\u00e9 by Loretta Bushell"},"content":{"rendered":"

\"How<\/a>Today we welcome a new guest writer to Writer\u2019s Fun Zone, Loretta Bushell who is stopping by to chat with us about \u201cHow to Write Character Descriptions Without Falling into a Clich\u00e9.\u201d Enjoy!<\/em><\/p>\n

***<\/p>\n

How tall is Miss Marple?<\/strong> What color is Dr. Watson\u2019s hair? What do Harry Potter\u2019s shoes look like?<\/p>\n

These are all questions we\u2019ll never know the answers to. But that\u2019s okay.<\/p>\n

Readers don\u2019t need to know exactly<\/i> what a character looks like in order to engage with the story.<\/p>\n

In fact, a long paragraph listing<\/strong> all their features is more likely to bore the reader than draw them in \u2014 and most of it will be forgotten almost immediately.<\/p>\n

The key to writing great character descriptions is to focus only on select traits.<\/p>\n

But, beware!<\/p>\n

The wrong combination of attributes can turn your character into a walking clich\u00e9.<\/p>\n

These four tips<\/strong> will help you find the right balance and craft effective and<\/i> original character descriptions.<\/p>\n

Zero in on 2-3 Distinctive Traits<\/h2>\n

The best way to build a lasting image of a character in a reader\u2019s mind is to forget their mundane features and concentrate on two or three distinctive characteristics<\/a>.<\/p>\n

Each quirk could<\/strong> be an unusual part of their appearance, a strange habit or interest, or a peculiar way of speaking.<\/p>\n

The more unique your chosen traits, the more memorable your character will be.<\/p>\n

That said, it does<\/i> help if you reiterate the attributes throughout your story \u2014 when it\u2019s natural to do so.<\/p>\n

When bringing up a<\/strong> character\u2019s appearance for a second or third time, you might explore their own attitude toward their body, show other characters observing them, or even connect their appearance to a key plot point (like Harry Potter\u2019s scar).<\/p>\n

It\u2019s been at least ten years since I read Lemony Snicket\u2019s A Series of Unfortunate Events<\/i><\/a>, but I still remember Count Olaf\u2019s unibrow, eye-shaped ankle tattoo, and love of theater.<\/p>\n

Not only are these traits unusual (the latter more so because of Olaf\u2019s villainy), but they come up again and again as the Baudelaire orphans continuously expose his elaborate disguises.<\/p>\n

Combine Opposing Characteristics<\/h2>\n

To avoid falling into a clich\u00e9, try combining characteristics that do not stereotypically belong together.<\/p>\n

A nerd who wears glasses<\/strong> is a complete clich\u00e9, but if they also wear cool earrings or have huge biceps, they will be sufficiently multidimensional to break free of the archetype<\/a>.<\/p>\n

It\u2019s not practical to give every<\/i> character two or three well-explored quirks \u2014 just the main characters require this.<\/p>\n

However<\/strong>, the next piece of advice applies to every direct description, no matter how unimportant the character, be as specific as you can.<\/p>\n

Choose the Most Specific Expression<\/h2>\n

Generic descriptions are not only an indicator of a one-dimensional, superficial clich\u00e9; they\u2019re also just plain boring.<\/p>\n

Always choose the most specific expression<\/a>.<\/p>\n

For example,<\/strong> \u201cmahogany\u201d rather than \u201cbrown,\u201d or \u201can accomplished flutist, decent pianist, and hardcore Beethoven fan\u201d rather than \u201cmusical.\u201d<\/p>\n

Figurative language can help you be even more specific.<\/p>\n

In This Census-Taker<\/i><\/a>, China Mi\u00e9ville\u00a0doesn\u2019t just tell us that a minor character has a dirty face; instead he says, \u201cDirt seemed so worked into him that the lines of his face were like writing.\u201d The simile conjures a precise image and engages the reader\u2019s imagination much more effectively than writing \u201chis face was dirty.\u201d<\/p>\n

Use Sensory Language for More Detail<\/h2>\n

Another way to add interesting detail is through sensory language.<\/p>\n

In The Neon Rain<\/i><\/a>, James Lee Burke\u00a0describes a prison guard as smelling \u201cfaintly of dried sweat, Red Man, and talcum powder.\u201d<\/p>\n

Meanwhile,<\/strong> Dennis Lehane introduces a senator with \u201ca handshake that stopped just short of inducing paralysis\u201d in A Drink Before the War<\/i><\/a>.<\/p>\n

The sensory language immerses the reader in the story, inviting them to imagine actually being there with the characters rather than just watching from afar.<\/p>\n

Reveal Character Description Through Action<\/h2>\n

Not all character traits should be spelled out.<\/p>\n

When readers are told<\/strong> everything outright by an omniscient narrator, it not only slows down the action, but also robs readers of the opportunity to engage actively with the story by making inferences.<\/p>\n

You can let the reader infer both physical and personality traits from a character\u2019s actions.<\/p>\n

Richard Osman doesn\u2019t<\/strong> explicitly say that DCI Chris Hudson from The Thursday Murder Club<\/i><\/a>\u00a0is overweight and has poor self-esteem, but we can deduce both because Chris is constantly eating unhealthy snacks, failing to stick to a health plan, and telling himself that nobody would want to date him.<\/p>\n

Or Through Other Characters\u2019 Observations<\/h2>\n

Another interesting way to convey a character\u2019s appearance or personality is through someone else\u2019s words or thoughts. This delivers a double whammy, as it says just as much (or more) about the observer as the observed.<\/p>\n

In Agatha Raisin and the Case of the Curious Curate<\/i><\/a>, M.C. Beaton\u00a0describes crime writer John Armitage from Agatha\u2019s perspective:<\/p>\n

\u201cAlthough he was about the<\/strong> same age as she was herself, his face was smooth and he looked younger, a fact that annoyed her […]\u201d<\/p>\n

Not only do we learn of John\u2019s youthful looks, but we also discover that Agatha is insecure about her own age and appearance and is prone to jealousy.<\/p>\n

Beaton is certainly creative in her characterization.<\/p>\n

Indeed, as is always<\/strong> the case in writing, variety<\/i> is key here.<\/p>\n

Use plain, figurative, and sensory language<\/a>.<\/p>\n

Swap between telling, showing, and letting another character tell.<\/p>\n

To avoid falling into a clich\u00e9<\/strong>, be specific and combine multiple unique characteristics, and never just list attributes!<\/p>\n

***<\/p>\n

About The Author<\/h2>\n

\"Loretta<\/a><\/i><\/p>\n

Loretta Bushell writes for Reedsy, a marketplace that connects authors with resources and professionals to help them publish their dream book. Loretta is also a part-time translator and spends their spare time reading, playing board games, and training for their next triathlon.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

How to write vivid, original character descriptions that avoid clich\u00e9s by using specific, sensory, and unique 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