novel writing describing characters

How To Write A Character Description (101 Examples)

February 15, 2024

Learn what character description is and how to describe a character. Jump into OC description writing with one of the iconic character description examples from our list.

Developing a description of a character can be a challenge for OC creators. How much do you give away as someone who knows the character innately versus trying to generate interest and get an audience to invest in the character’s journey? We’re going to dive into writing character descriptions that stand out.

Why Character Descriptions Matter

Character descriptions, at heart, serve as a marker for the reader to determine if they wish to know more about the character. They are creators' attempts to signal that an individual they are writing about is worth becoming invested in. This is why a boring character description can be fatal to first impressions - why bother exploring a project if the character's description generates no spark?

Character descriptions are also influenced by purpose. A character description in a screenplay occupies a different purpose than a character description on a profile page. A description in a screenplay is lean, whereas a profile has more room to explore. These descriptions we’re talking about are too large for a character reference sheet .

While focusing on writing character descriptions for profiles, we will look at examples from literature, screenplays, and existing character profiles on CharacterHub. 

The Five Key Questions

When it comes to description in a general sense, there are five questions to consider: Who, What, Where, Why, and When? These questions are also beneficial in writing original character descriptions because you can use as many as you wish or even omit some to generate interest.

It is rather complicated to omit the who in a description, as a description is usually tied to an identifiable figure. Even if you may not want to give away a character’s identity, there is usually some marker that identifies them. For example, in the script for the horror classic Halloween (1978) by John Carpenter and Deborah Hill, the lurking presence of Michael Myers is simply referred to as “The Shape.” It is a name as evocative as it is practical. In most cases, a creator will probably just include the OC’s name.

The what in a character description can be interpreted as a marker for their identity. This could be their ethnicity, role, or species, for example. It is, again, reasonably complex to avoid this when developing a description, as a character without a perceived role may not feel like a character. A great example of “the what” in a character description comes from the character Tiberius Skärvas IV from the webcomic The Fourth . 

From the character's description on the cast page: “Ever since the First and his rather unethical business practices, the Tiberius Skärvas have been accursed by the gods. While technically still human, they possess the appearance and certain traits of sharks.” A cursed human with shark-like traits is undoubtedly a bold answer for “the what.”

When it comes to where , you are likely answering who the character is to their setting. It is less about a physical location and how that character connects to or runs counter to a location or society. Essentially, you are positioning them against civilization in whatever form that takes. A great example of this can be found in the codex entry of Agrippa Varus from the webcomic Terra Incognita . 

Case in point: “Agrippa Varus was raised in a well respected family in the Asurian capital of Sokai. His father Argo Varus, served as a consul and the main liaison between Asura and other sentient worlds. Due to his exposure to other species from a young age, Agrippa has an open mind and is much less prejudiced than the average Asurian citizen.” 

As we can see in this description, Agrippa is given a physical “where” regarding a space civilization while also being described of their societal “where” - as a figure that runs outside their culture.

The when of a character in their description is all about position. Whether the setting is based on natural history or set in an entirely fictional timeline, a character occupies temporal space, which can factor into how they are seen. Are they of their time, or do they feel apart from it? Descriptions that hint at such things are great at generating interest.

A great example of this can be found in the script of Warm Bodies (2013), in a description of the character R. “Blank face, sunken eyes. Blueish lips. If we didn’t know any better we’d think he was a junkie, a runaway from the set of My Own Private Idaho . Then we might notice a few thin gashes cutting across his cheeks. And then we might hear a soft groan humming from his frozen lips. And then we might start to wonder…

In this example, we see the deliberate usage of a contemporary reference to another film, positioning R and their relationship to a contemporary setting. The reference also does double duty, saying a lot about how R can be perceived by those familiar with the reference.

The why of a character description is most easily omitted to generate interest and intrigue. However, it can also be incredibly influential in generating interest in an original character. Knowing what drives a character can be a descriptive hook.

A great example of the “why” in a character description comes from Miguel de Cervantes Saavedra’s Don Quixote in this rather brilliant moment: “In short, his wits being quite gone, he hit upon the strangest notion that ever madman in this world hit upon, and that was that he fancied it was right and requisite, as well for the support of his own honour as for the service of his country, that he should make a knight-errant of himself, roaming the world over in full armour and on horseback in quest of adventures, and putting in practice himself all that he had read of as being the usual practices of knights-errant[...]”

Don Quixote’s mad notion of being a knight proves a compelling hook to the character, especially in how that motivation is presented. A reader can’t help but be intrigued by the description of the thin, elderly man who wants to be a knight.

Other Descriptive Traits and Tips

Much descriptive writing can come from things you probably already learned in school but are worth repeating. For example, utilizing sensory details in a character description can be particularly useful. Writing about how a character may smell like motor oil or freshly baked bread can suggest different things.

Contrast is another powerful tool in the character description, as when we are introduced to someone, we cannot help but size them up compared to people we know. This is especially true of original characters. How does one protagonist compare to another? How might you set a character apart from others? Using contrast is especially helpful here. For example, describing how a lead character differs from others in a similar position of their setting.

Of course, there are also things to avoid when developing character descriptions. Writing a description that is a laundry list of traits is something you may want to avoid. It can lack personality and feel a little boring. A solid character organizer can help you visually track if you rely on listing too often.

In any case, referring to some classic descriptive writing techniques can be helpful, especially when punching up a first draft of a character description.

Ways of Establishing Character Through Description

Well-written, informative descriptions greatly help establish interest in an original character. Consider them a teaser to what you hope to be a more significant journey you want to take readers on. Your goal is to connect an audience and a character through intrigue an interest - your aim can be to use description as a hook. Here are some different ways to use description to create that hook.

Using Description to Create a Presence

One of the most essential uses of description is to establish the presence of a character in their respective story. How about who is heroic or villainous? Who merits us following their story and becoming invested in them? This is particularly useful in writing an OC profile because you want to establish how we should feel about them without the burden of a ton of backstory to provide context.

Consider this like trying to convey everything about a person possible at a glance. How can you give us what we need about an OC in a descriptive passage? Well, let’s look at some examples.

In this sample from Margaret Atwood’s The Blind Assassin , we see presence established by tying description to color and costuming details. Note that the presence established here is not a flattering one.

I could picture the smooth oval of Laura’s face, her neatly pinned chignon, the dress she would have been wearing: a shirtwaist with a small rounded collar, in a sober colour – navy blue or steel grey or hospital-corridor green. Penitential colours – less like something she’d chosen to put on than like something she’d been locked up in.

• Margaret Atwood, The Blind Assassin (2000)

Another great way to establish a character’s presence through description is to tie it to a metaphor. Let’s look at an example of Arudhati Roy’s The God of Small Things, where we have a character consumed by quietude.

Once the quietness arrived, it stayed and spread in Estha. It reached out of his head and enfolded him in its swampy arms…sent its stealthy, suckered tentacles inching along the insides of his skull, hoovering the knolls and dells of his memory, dislodging old sentences, whisking them off the tip of his tongue.

• Arudhati Roy, The God of Small Things (1997)

In these examples, we see how descriptive language can imply something about the character's presence, such as their authority or lack of authority. In the Atwood example, the character is effectively rendered blank or meek. Meanwhile, in the Roy example, the description paints a picture of a character consumed by their awkwardness and silence. Noting and working with such traits is key to building a good character profile.

Let’s look at how the presence of Gandalf is established through description in J.R.R. Tolkien’s The Fellowship of the Ring .

“Gandalf was shorter in stature than the other two; but his long white hair, his sweeping beard, and his broad shoulders, made him look like some wise king of ancient legend. In his aged face under great snowy brows his eyes were set like coals that could suddenly burst into fire.”

• J.R.R. Tolkien, The Fellowship of the Ring (1954)

Gandalf’s physical presence is a fun juxtaposition with him appearing larger than life. He may be shorter, but he has an aura about him - something noticeably distinguished. I recommend reading Tolkien for character description, not just because I am a fan. 

Using a History to Create Significance

Character description that depicts an established history can go a long way to informing a reader about what makes the character tick. A character can sometimes be seen as a record of their experiences, and knowing those experiences can tell us a lot about a character, how they view the world, and how the author wishes for us to view them. There is no shortage of character ideas , but a character is more than an idea: they are a story.

In Charles Dickens’ Hard Times , the character of Bounderby is pernicious and self-centered, motivated by the pursuit of their wants and desires having come up from poverty. We can see Dickens establish much of that in his description of Bounderby by including history in the character’s description.

“A big, loud man, with a stare, and a metallic laugh. A man made out of coarse material, which seemed to have been stretched to make so much of him […] always proclaiming, through that brassy speaking-trumpet of a voice of his, his old ignorance and his old poverty.”

• Charles Dickens, Hard Times (1854)

Let’s look at a character with an established history and how that history plays into their description in the present. If you are a fan of Star Trek , then the film Star Trek II: The Wrath of Khan should be pretty familiar. The film was a culmination of a storyline that began in the 1960s featuring characters who have aged decades for the 1980s film. In particular, let’s look at a description of Captain Kirk from the script.

“Kirk reads the novel, trying to focus. His flat befits an Admiral and a loner with few possessions, except a collection of antiques.”

• Harve Bennett, Star Trek II: The Wrath of Khan (1982)

In this example, we have a little bit of environmental storytelling that plays against what audiences would know of Captain James T. Kirk. Kirk, from the original series, was quite the heroic figure, not mainly seen as an elder statesman. However, the depiction of his apartment, filled with antiques belonging to a man who is alone, shows that much time has passed for the figure. He is different in many ways - almost startlingly so.

So, what can we draw from these examples when developing descriptions of our original characters? A character with a lot of history is undoubtedly colored by it, so if your description can evoke a journey, you’ve gone a long way to informing us about what makes them tick. This is seen in the example from Hard Times, where the character’s journey through the classes of 19th-century London colors how we see their outward-facing personality.

Further, if you are playing with time, descriptions of a character at different stages in their life or respective journey can highlight their growth, such as in the example from Star Trek . Contrast through history is a particularly effective strategy when writing a character description.

Using Perspective to Create Interpretation

In some cases, describing a character from another person's perspective can yield beautiful results. First impressions can say a lot, and stepping away from an omniscient narrator’s view of a character, filled with insight about them and their past, can be a valuable technique. It also can create a narrative journey for an OC later on, as our initial impressions, through a more limited outsider perspective, do not usually represent the whole character.

Here is an example of Virginia Woolf establishing a character’s description from another character's perspective.

“He was such a miserable specimen, the children said, all humps and hollows. He couldn’t play cricket; he poked; he shuffled. He was a sarcastic brute, Andrew said. They knew what he liked best – to be for ever walking up and down, up and down, with Mr. Ramsay, saying who had won this, who had won that …”

• Virginia Woolf, To The Lighthouse (1927)

Here is an example of a character description written from another character's perspective. In this case, we have Ripley from Aliens , who first encounters Burke as she recovers in a hospital room. Notice the usage of traits in the following passage. This is taken from the film's shooting script.

“The visitor sits beside the bed and Ripley finally notices him.  He is thirtyish and handsome, in a suit that looks executive or legal, the tie loosened with studied casualness.  A smile referred to as ‘winning.’”

• James Cameron, Aliens (1985)

Specifically, this is a friendly, somewhat charming face for a recovering from intensive trauma. However, we also get a sense of Burke's nature through the description, such as emphasizing the fakery of a “winning” smile.

If we want another great example of perspective coloring the description of a character, we can look toward another sci-fi franchise with Star Wars . In particular, the 4th draft script from A New Hope introduces Darth Vader in a fantastic way that tells us everything we need to know about the character from the perspective of the terrified Rebels.

“The awesome, seven-foot-tall Dark Lord of the Sith makes his way into the blinding light of the main passageway. This is Darth Vader, right hand of the Emperor. His face is obscured by his flowing black robes and grotesque breath mask, which stands out next to the fascist white armored suits of the Imperial stormtroopers. Everyone instinctively backs away from the imposing warrior and a deathly quiet sweeps through the Rebel troops. Several of the Rebel troops break and run in a frenzied panic.”

• George Lucas, Star Wars: A New Hope (1976)

That Darth Vader cuts an imposing presence in this description is an understatement. The key here is that we are seeing him through the eyes of those terrified Rebel troops.

Character Descriptions from Some Friends of Mine

There are many great examples of strong character descriptions out there. I turned to a few writer friends who are particularly good at creating characters, and I want to look at examples from two of them.

Robert Livingston: Tom n’ Artie and Kaiju Dayz

First up, we have my friend Robert Livingston, who was gracious enough to provide some examples from his in-depth pitch documents for two of his projects. First, look at some examples featuring the two leads of his comic Tom n’ Artie .

Tommy ‘Tom’ Sunshine Bliss

“Our stoic, disciplined Unicorn with the sparkly hair! Tom is the straight man of the duo usually doing the talking when they're with clients or when a deal needs to be made. Straight-laced with a dry sense of humor, he approaches situations with a strategic mindset preferring to have all the information before diving in. Due to his friendship with Artie, he commonly has to just 'wing it' with his little wildcard friend as he changes strategies on the fly.”

As we can see, Tom is the comedic straight man of the pair, but given the nature of the project, he still has his quirks. In particular, I want to note the contrast between his character and the description of his appearance. It does a lot to sell the inherent comedy of the character.

Artie Artillery

“The cartoon wildcard! Artie is zany and a rabbit/cat of action preferring to let his fists, teeth, legs, bats, guns, bombs and whatever he's got do the talking for him. He's spontaneous with a short fuse willing to crack jokes then skulls seconds apart from each other. Tom usually is the one who has to hold him back but during the events of the arc, he's more willing to let his little toon buddy cut loose more.”

Because the project revolves around a comedic pairing, we can see how essential contrasting the two leads can be in establishing their characters. There is some great description here, especially the emphasis on Artie’s improvised armory. Artie has enough of a hook from his description, but the depth is substantial when paired with his co-lead, Tom.

Next, we have an example from Robert’s other series, Kaiju Dayz . This project is like a sitcom set on an island of giant monsters. Let’s look at the series lead, Big Mama.

“A well-known Kaiju on Monster Island for her several successful attacks on human cities and other locations for many years. She’s gained a large reputation that gives her a lot of respect from others. It’s also forced her to put up a constant face of intimidation to keep that respect, she feels force is the only way to keep others in line. The only ones she’s softer on are her own children, Junior and Pestania, but now seeing that she’s growing estranged from them she’s trying to change that. She isn’t of this world (or possibly reality) and has no love for it but wants to keep anything she does love (her children and late husband) as close to her as possible.”

This character description does a great job of pitching the whole character. While I only used some segments for Tom and Artie earlier, I wanted to share the entire character description for Big Mama because it is so thorough without being overly long. This is an excellent example of a character description meant to sell the original character to an audience. This is what you’d want to see on a character profile .

Ben Paddon: Jump Leads

Ben Paddon sent me pitch documents for their audio drama, Jump Leads . You should give it a listen. Let’s look at the character descriptions for Meaney and Llewellyn, the dual protagonists of the story.

Thomas Meaney

The following is transcribed from the Jump Leads character breakdown about the character of Thomas Meaney.

• Meaney is excitable, enthusiastic, and young. She has wanted to be a Lead her entire life, and now she’s finally in training. This is her dream come true. Such a pity it’s about to be absolutely derailed by Misadventure.
• Meaney is a hopeful idealist. She always wants to see the best in people, and always tries to do good, even when the odds - and, indeed, her own skill set - are not in her favor. She’s also driven by a desire to get back home to complete her Lead training, though her adventurous, helpful nature, coupled with a desire to explore, often get the better of her.
• Meaney is excitable, in every sense of the word - her enthusiasm runs just as deeply as her fear, though she tries not to let being scared of a situation prevent the right decision from being made.
• Meaney is a brilliant problem-solver. She doesn't quite know this yet. She’ll discover that soon enough.

This is a wonderfully written character description that gives us everything we wish to know about a character while giving us the suggestion of a larger arc. When you think about this profile in terms of the questions who, what, where, why, and when, you’ll see they are all there.

Richard Llewellyn

• Llewellyn is in his mid-to-late 20s - still young enough to be bitter and cynical without having any of the real-world experience to justify it. He’s indifferent, snide, at times cruel, and he keeps people at an arm's length. Unfortunately, he’s been utterly unsuccessful in doing this with Meaney, in part because the alphabetical arrangement of the training classes has stuck them together.
• Llewellyn is smart, but lazy; brilliant, but apathetic. He joined the Lead Service because the alternative involved being in the real world, and that isn't something he's willing to do just yet. Of course, he'd never admit this.
• Underneath it all, there's something else. Maybe he's ready to let someone in. Or maybe he's hiding something else entirely…

Again, we have a dual protagonist situation; contrast is essential to define each. Each character can stand independently, but their descriptions are tailored to work best when read together. Yes, we get a fully rounded character in Llewellyn thanks to the description, but we also get a further hook because of the emphasis on personality clash. How might their journey go down, given their radically different perspectives?

Character Description from CharacterHub

While writing this article, I wanted to look at examples of character descriptions written by CharacterHub users. I’ve found some great examples to share, so why don’t we dive in and see what OC creators have been sharing with the community?

I’ve taken snippets from each profile of something I found to be particularly evocative or inspirational. Be sure to visit the complete profiles for even more great examples.

• Euronym by genderkiller - “driven to be the least evil thing around her, euronym chooses to use her manipulation and intelligence for what she believes is the betterment of others. but does it really know what's best for others, so blinded by its own trauma?”
• Valentine Adelaide by DEADRKGK - “Personality wise, Valentine is a man with many facets to him, and all are generally expressed and felt in extremes. To call him unpredictable would be both correct and incorrect. For those around him often, he can be much more easily predictable of a person. He’s open with his thoughts and feelings and expresses them freely with a poor social filter– good or bad, he’ll speak his mind regardless of if people want to hear it or not.”
• Tessa Verisey by LuminaLyric - “Standing at 5'8" with chestnut brown hair cascading in loose waves to her shoulders, her hazel eyes conceal a depth of intelligence and charisma.”
• Seth Salem by Paracosmic - “If looks could kill, Seth's would be the firing squad.”
• Aries by AFishWithAGun - “Aries is not a good person. At least, not anymore. Greif is a funny thing, pushed by a whirlwind of emotions. Anger, regret, betrayal. It spins its way into a palpable rage. His jagged psyche knows how best it can ruin a man.”
• Sidney Ignacio by soupysoupster - “Throughout his days, Sidney can’t seem to get past his own thoughts and anxieties. As a result, he comes off as withdrawn and uninterested to most. Despite what people may think though, Sidney is nothing short of a caring and compassionate person and will do anything he can do to help others. He’s a great listener, and will often catch onto things others don’t. ‘The devil is in the details’ as their father would say.”
• Adem Petrovic by lysesander - “Athletic enough to make a quick escape over a side wall if the situation calls for it. Face is unmemorable, and hard to spot in the crowd.”
• The Depths by celestrian - “A mysterious and enigmatic traveling merchant of the depths, a man whose past is shrouded in secrecy and his appearance completely hidden beneath a strange fox mask as well as a hooded cloak, wrapped in layers of cloth that cover his entire body. He claims to have knowledge of the entire kingdom and forbidden secrets, despite seeming quite young.”
• Clawfoot by Sunckeys - “Naivete is not a word known to poor Clawfoot, yet it may just be the best word to describe him. Unknown to him are the ways of man, of conversing with another and sharing pleasantries. No, for Clawfoot's expertise lies in savagry, ravaging, of ripping and tearing. Yet he hungers not for prey- though he much enjoys a meal or four- but for connection.”
• Soffice Pluvia by bunnymacaron - “Recently, he's found himself in an...unusual situation. Almost as soon as he entered the country he went through the Magical Girl transformation process. Immediately after, he got roped into the schemes of a sadistic Magical Girl and is stuck unraveling the tangled web of Kannazen City's Magical Girls to hopefully finally have some peace and quiet...or die trying.”
• Joshua Vox by ThaLizardWizard - “In terms of appearance, he is very skinny, pale, and sickly looking, with wild black hair that stands on end, and freckles all over his body and face. He has intense eye bags under enormous pale gray eyes, and to be completely honest, has frequently been mistaken for a ghost.”

Further fantastic examples of evocative character descriptions can be found all over CharacterHub . Browsing the thousands of existing character descriptions will inspire anyone to create character descriptions for their OCs. In particular, searching tags to find the kind of characters that inspire you most is super easy.

Further Examples of Character Descriptions

We’ll leave you here now with the following massive list. This list features different examples of character descriptions from various stories. Try to match the selections to some of our established principles. The descriptions here are very inspiring for any OC creator.

• Denis Lehane’s A Drink Before the War : “He had a shock of stiff white hair you could land a DC-10 on and a handshake that stopped just short of inducing paralysis.”
• Amber Dawn’s Sub Rosa : “When he did appear his eyes were as brown as I remembered, pupils flecked with gold like beach pebbles.”
• Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven : “I thought she was so beautiful. I figured she was the kind of woman who could make buffalo walk on up to her and give up their lives.”
• Louisa M. Alcott’s Little Women : “Amy, though the youngest, was a most important person,—in her own opinion at least. A regular snow-maiden, with blue eyes, and yellow hair, curling on her shoulders, pale and slender, and always carrying herself like a young lady mindful of her manners.”
• Frank Herbert’s Dune : "Through the door came two Sardukar herding a girl-child who appeared to be about four years old. She wore a black aba, the hood thrown back to reveal the attachments of a stillsuit hanging free at her throat. Her eyes were Fremen blue, staring out of a soft, round face. She appeared completely unafraid and there was a look to her stare that made the Baron feel uneasy for no reason he could explain."
• Kury Vonnegut’s Slaughterhouse-Five : "He was a funny-looking child who became a funny-looking youth — tall and weak, and shaped like a bottle of Coca-Cola."
• Philip K. Dick’s Do Androids Dream of Electric Sheep? : "Black-haired and slender, wearing the huge new dust-filtering glasses, she approached his car, her hands deep in the pockets of her brightly striped long coat. She had, on her sharply defined small face, an expression of sullen distaste."
• John Kennedy Toole’s A Confederacy of Dunces : “Full, pursed lips protruded beneath the bushy black moustache and, at their corners, sank into little folds filled with disapproval and potato chip crumbs.”
• Ralph Ellson’s Invisible Man : “I am a man of substance, of flesh and bone, fiber and liquids — and I might even be said to possess a mind. I am invisible, simply because people refuse to see me.”
• George Eliot’s Middlemarch : “The rural opinion about the new young ladies, even among the cottagers, was generally in favour of Celia, as being so amiable and innocent-looking, while Miss Brooke’s large eyes seemed, like her religion, too unusual and striking. Poor Dorothea! Compared with her, the innocent-looking Celia was knowing and worldly-wise.”
• Joseph Conrad’s Heart of Darkness : “He was commonplace in complexion, in feature, in manners, and in voice. He was of middle size and of ordinary build. His eyes, of the usual blue, were perhaps remarkably cold, and he certainly could make his glance fall on one as trenchant and heavy as an axe…”
• Rudyard Kipling’s The Jungle Books : “But he had a voice as soft as wild honey dripping from a tree, and a skin softer than down.”
• Jane Austen’s Pride and Prejudice : “…your manners, impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form the groundwork of disapprobation on which succeeding events have built so immovable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.”
• Mark Twain’s The Adventures of Huckleberry Finn : “He was most fifty, and he looked it. His hair was long and tangled and greasy, and hung down, and you could see his eyes shining through like he was behind vines.”
• Lindsay Faye’s Dust and Shadow: An Account of the Ripper Killings by Dr. John H. Watson : “The door flew open, revealing a wrinkled, forward-thrusting face wreathed with a nimbus of wispy white hair, a face resembling nothing so much as a mole emerging from its burrow. Her spectacles were so dirty that I could hardly see the use of them.”
• Adlous Huxley’s Brave New World : "Tall and rather thin but upright, the Director advanced into the room. He had a long chin and big rather prominent teeth, just covered, when he was not talking, by his full, floridly curved lips. Old, young? Thirty? Fifty? Fifty-five? It was hard to say."
• F. Scott Fitzgerald’s The Great Gatsby : “He smiled understandingly — much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life.”
• J.R.R. Tolkien’s The Fellowship of the Ring : "The face of Elrond was ageless, neither old nor young, though in it was written the memory of many things both glad and sorrowful. His hair was dark as the shadows of twilight, and upon it was set a circlet of silver; his eyes were grey as a clear evening, and in them was a light like the light of stars."
• Stephenie Meyer’s Twilight : “I vividly remembered the flat black color of his eyes the last time he glared at me – the color was striking against the background of his pale skin and his auburn hair. Today, his eyes were a completely different color: a strange ocher, darker than butterscotch, but with the same golden tone.”
• Joan Johnston’s No Longer A Stranger : “Her straight, boyishly cut hair fell onto her brow haphazardly and hid beautiful arched brows that framed her large, expressive eyes.”
• Anne Rice’s The Vampire Armand : “I saw my Master had adorned himself in a thick tunic and beautiful dark blue doublet which I’d hardly noticed before. He wore soft sleek dark blue gloves over his hands, gloves which perfectly cleaved to his fingers, and legs were covered by thick soft cashmere stockings all the way to his beautiful pointed shoes.”
• Charles Dickens’ Great Expectations : “Though every vestige of her dress was burnt, as they told me, she still had something of her old ghastly bridal appearance; for, they had covered her to the throat with white cotton-wool, and as she lay with a white sheet loosely overlying that, the phantom air of something that had been and was changed, was still upon her.”
• Mark Twain’s The Adventures of Huckleberry Finn : “He was sunshine most always-I mean he made it seem like good weather.”
• N. K. Jemisin’s The Hundred Thousand Kingdoms : “His long, long hair wafted around him like black smoke, its tendrils curling and moving of their own volition. His cloak — or perhaps that was his hair too — shifted as if in an unfelt wind.”
• Maya Angelou’s I Know Why the Caged Bird Sings : “Her skin was a rich black that would have peeled like a plum if snagged, but then no one would have thought of getting close enough to Mrs. Flowers to ruffle her dress, let alone snag her skin. She didn’t encourage familiarity.”
• China Miéville’s The Census-Taker : “His hand was over his eyes. He looked like a failed soldier. Dirt seemed so worked into him that the lines of his face were like writing.”
• Louisa M. Alcott’s Little Women : “Fifteen-year-old Jo was very tall, thin, and brown, and reminded one of a colt; for she never seemed to know what to do with her long limbs, which were very much in her way. She had a decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and were by turns fierce, funny, or thoughtful.”
• Henry James’ The Aspern Papers : “Her face was not young, but it was simple; it was not fresh, but it was mild. She had large eyes which were not bright, and a great deal of hair which was not ‘dressed,’ and long fine hands which were–possibly–not clean.”
• Edgar Allan Poe’s “The Masque of the Red Death”: “The tastes of the duke were peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not.”
• Becca Fitzpatrick’s Hush, Hush : “He was abominable…and the most alluring, tortured soul I’d ever met.”
• William Golding’s Lord of the Flies : “Inside the floating cloak he was tall, thin, and bony; and his hair was red beneath the black cap. His face was crumpled and freckled, and ugly without silliness.”
• Maggie Stiefvater’s The Raven Boys : “As always, there was an all-American war hero look to him, coded in his tousled brown hair, his summer-narrowed hazel eyes, the straight nose that ancient Anglo-Saxons had graciously passed on to him. Everything about him suggested valor and power and a firm handshake.”
• John Safran Foer’s Everything Is Illuminated : “He did not look like anything special at all.”
•  J.R.R. Tolkien’s The Fellowship of the Ring : “He wore a tall pointed blue hat, a long grey cloak, and a silver scarf.  He had a long white beard and bushy  eyebrows that stuck out beyond the brim of his hat.”
• Andrew Lang’s The Crimson Fairy Book : “When the old king saw this he foamed with rage, stared wildly about, flung himself on the ground and died.”
• Rudyard Kipling’s Many Inventions : “He wrapped himself in quotations – as a beggar would enfold himself in the purple of Emperors.”
• Bram Stoker’s Dracula : “The Count smiled, and as his lips ran back over his gums, the long, sharp, canine teeth showed out strangely.”
• Hugh Lofting’s The Story of Doctor Dolittle : “For a long time he said nothing. He kept as still as a stone. He hardly seemed to be breathing at all. When at last he began to speak, it sounded almost as though he were singing, sadly, in a dream.”
• M.L Legette’s The Orphan and the Thief : “Its gray, slippery skin was stretched taut upon its face. Its mouth was wide and full of needle teeth.”
• Julia Stuart’s The Tower, The Zoo, and The Tortoise : “Blooms of acne highlighted his vampire-white skin.
• James Lee Burke’s The Neon Rain : “His khaki sleeves were rolled over his sunburned arms, and he had the flat green eyes and heavy facial features of north Louisiana hill people. He smelled faintly of dried sweat, Red Man, and talcum powder.”
• Becca Fitzpatrick’s Black Ice : “His brown hair was cropped, and it showed off the striking symmetry of his face. With the sun at his back, shadows marked the depressions beneath his cheekbones.”
• Mary Wollstonecraft Shelley’s Frankenstein : “His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.”
• Edgar Allan Poe’s “The Cask of Amontillado”: “He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells.”
• E.C. Sheedy’s Killing Bliss : “He stood, which put him eye to eye with the dark-haired woman whose brilliant, burning gaze poured into his worthless soul like boiling tar, whose mouth frothed with fury–and whose hand now curled, knuckles white, around a steak knife.”
• Suzanne Collins’ The Hunger Games : “She has bright, dark eyes and satiny brown skin and stands tilted up on her toes with arms slightly extended to her sides, as if ready to take wing at the slightest sound.”
• J.K. Rowling’s Harry Potter and the Sorcerer’s Stone : “A giant of a man was standing in the doorway. His face was almost completely hidden by a long, shaggy mane of hair and a wild, tangled beard, but you could make out his eyes, glinting like black beetles under all the hair.”
• Louisa M. Alcott’s Little Women : “Elizabeth—or Beth, as every one called her—was a rosy, smooth-haired, bright-eyed girl of thirteen, with a shy manner, a timid voice, and a peaceful expression, which was seldom disturbed.”
• Anne Rice’s Violin : “What a well-formed mouth he had, and how the narrow eyes, the detailed deepened lids gave him such a range of expression, to open his gaze wide, or sink in cunning street.”
• Kevin Brooks’ Lucas : “An easygoing lope. Nice and steady. Not too fast and not too slow, Fast enough to get somewhere, but not too fast to miss anything.”
• Iris Johansen’s The Face of Deception : “Kinky tousled curls, only a minimum of makeup, large brown eyes behind round wire-rimmed glasses. There was a world of character in that face, more than enough to make her fascinating-looking instead of just attractive.”
• Herman Meilville’s Moby Dick : “There seemed no sign of common bodily illness about him, nor of the recovery from any. He looked like a man cut away from the stake, when the fire has overrunningly wasted all the limbs without consuming them, or taking away one particle from their compacted aged robustness. His whole high, broad form, seemed made of solid bronze, and shaped in an unalterable mould, like Cellini’s cast Perseus.”
• Gena Showalter’s The Darkest Night : “Pale hair fell in waves to his shoulders, framing a face mortal females considered a sensual feast. They didn’t know the man was actually a devil in angel’s skin.”
• Orson Scott Card’s Ender’s Game : “Ender did not see Peter as the beautiful ten-year-old boy that grown-ups saw, with dark, tousled hair and a face that could have belonged to Alexander the Great. Ender looked at Peter only to detect anger or boredom, the dangerous moods that almost always led to pain.”
• Caitlin Moran’s How To Build A Girl : “He had his head in his hands, and his tie looked like it had been put on by an enemy, and was strangling him.”
• Philip Pullman’s The Golden Compass : “Lord Asriel was a tall man with powerful shoulders, a fierce dark face, and eyes that seemed to flash and glitter with savage laughter. It was a face to be dominated by, or to fight: never a face to patronize or pity.”
• J.D. Salinger’s Franny and Zooey : “She found herself looking at Lane as if he were a stranger, or a poster advertising a brand of linoleum, across the aisle of a subway car.”
• L. Frank Baum’s The Wonderful Wizard of Oz : “They wore round hats that rose to a small point a foot above their heads, with little bells around the brims that tinkled sweetly as they moved. The hats of the men were blue; the little woman’s hat was white, and she wore a white gown that hung in pleats from her shoulders. Over it were sprinkled little stars that glistened in the sun like diamonds.”
• Bram Stoker’s Dracula : “Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere.”
• Algernon Blackwood’s Ten Minute Stories : “Then, by a green field that shone like a thought of daylight amid the darkness of the moor, he saw a figure lying in the grass. It was a blot upon the landscape, a mere huddled patch of dirty rags, yet with a certain horrid picturesqueness too; and his mind—though his German was of the schoolroom order—at once picked out the German equivalents as against the English. Lump and Lumpen flashed across his brain most oddly.”
• John Rhode’s The Murders in Praed Street : “He was tall and thin, with a pronounced stoop and a deep but not unpleasant voice. But it was his head that you looked at instinctively. Above the massive forehead and powerfully-chiselled features was a wealth of long, snow-white hair, balanced by a flowing beard of the same colour.”
• Edgar Allan Poe’s “The Telltale Heart”: “He had the eye of a vulture—a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold.”
• Mary Wollstonecraft Shelley’s Frankenstein : “His limbs were nearly frozen, and his body dreadfully emaciated by fatigue and suffering. I never saw a man in so wretched a condition.”
• Washington Irving’s The Legend of Sleepy Hollow : “He was tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together.”
• Louisa M. Alcott’s Little Women : “Margaret, the eldest of the four, was sixteen, and very pretty, being plump and fair, with large eyes, plenty of soft, brown hair, a sweet mouth, and white hands, of which she was rather vain.”
• Lewis Carroll’s Alice in Wonderland : “It was the White Rabbit returning, splendidly dressed, with a pair of white kid gloves in one hand and a large fan in the other: he came trotting along in a great hurry, muttering to himself as he came…”
• J.M. Barrie’s Peter Pan : “He was a lovely boy, clad in skeleton leaves and the juices that ooze out of trees but the most entrancing thing about him was that he had all his first teeth.”
• Franz Kafka’s The Metamorphosis : “He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. The bedding was hardly able to cover it and seemed ready to slide off any moment. His many legs, pitifully thin compared with the size of the rest of him, waved about helplessly as he looked.”
• Charlotte Perkins Gilman’s The Yellow Wallpaper : “John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.”
• L. Frank Baum’s The Wonderful Wizard of Oz : “When Aunt Em came there to live she was a young, pretty wife. The sun and wind had changed her, too. They had taken the sparkle from her eyes and left them a sober gray; they had taken the red from her cheeks and lips, and they were gray also. She was thin and gaunt, and never smiled now.”
• Fyodor Dostoevsky’s Crime and Punishment : “This was not because he was cowardly and abject, quite the contrary; but for some time past he had been in an overstrained irritable condition, verging on hypochondria. He had become so completely absorbed in himself, and isolated from his fellows that he dreaded meeting, not only his landlady, but anyone at all. He was crushed by poverty, but the anxieties of his position had of late ceased to weigh upon him. He had given up attending to matters of practical importance; he had lost all desire to do so.”
• Nathaniel Hawthorne’s The Scarlet Letter : “The young woman was tall, with a figure of perfect elegance on a large scale. She had dark and abundant hair, so glossy that it threw off the sunshine with a gleam, and a face which, besides being beautiful from regularity of feature and richness of complexion, had the impressiveness belonging to a marked brow and deep black eyes.”
• Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde : “This was a hearty, healthy, dapper, red-faced gentleman, with a shock of hair prematurely white, and a boisterous and decided manner.”
• Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde : “Mr. Hyde was pale and dwarfish, he gave an impression of deformity without any nameable malformation, he had a displeasing smile, he had borne himself to the lawyer with a sort of murderous mixture of timidity and boldness, and he spoke with a husky, whispering and somewhat broken voice; all these were points against him, but not all of these together could explain the hitherto unknown disgust, loathing and fear with which Mr. Utterson regarded him.”
• Charles Dickens’ A Christmas Carol : “Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster.”
• Leo Tolstoy’s War and Peace : “Anna Pávlovna Schérer on the contrary, despite her forty years, overflowed with animation and impulsiveness. To be an enthusiast had become her social vocation and, sometimes even when she did not feel like it, she became enthusiastic in order not to disappoint the expectations of those who knew her. The subdued smile which, though it did not suit her faded features, always played round her lips expressed, as in a spoiled child, a continual consciousness of her charming defect, which she neither wished, nor could, nor considered it necessary, to correct.”
• Arthur Conan Doyle’s “A Scandal in Bohemia”: “His rooms were brilliantly lit, and, even as I looked up, I saw his tall, spare figure pass twice in a dark silhouette against the blind. He was pacing the room swiftly, eagerly, with his head sunk upon his chest and his hands clasped behind him. To me, who knew his every mood and habit, his attitude and manner told their own story. He was at work again.”
• J.M. Barrie’s Peter Pan : “In person he was cadaverous and blackavized, and his hair was dressed in long curls, which at a little distance looked like black candles, and gave a singularly threatening expression to his handsome countenance. His eyes were of the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly.”

Looking for more tips and tricks regarding character creation? Check out the CharacterHub blog !

David Davis

David Davis is a cartoonist with around twenty years of experience in comics, including independent work and established IPs such as SpongeBob Squarepants. He also works as a college composition instructor and records weekly podcasts. Find out more about him at his website!

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Home / Book Writing / How to Write Amazing Character Descriptions (with Examples)

How to Write Amazing Character Descriptions (with Examples)

A good character description is walking a fine line between too much and too little information. Not only that, it's how you deliver the information to the reader that can make or break a good description. So whether you already have a vivid picture of your characters in mind or you don't know where to start, you've come to the right place. Read on to explore character description.

• What is a Good Character Description?
• Descriptions for Character Profiles
• Descriptions in Prose
• Character Description Examples
• Tips for Writing Character Descriptions for Profiles

Table of contents

• Description in Prose
• 1. Start With a List
• 2. Edit it Down
• 3. Get Creative With Surroundings and Movement
• 4. What Is and What Isn't
• 5. Adjectives Can Help or Hinder
• 6. Practice Makes Perfect
• 7. Description Can Help Reveal the Narrator

A good character description isn't just about describing how a given character looks. It's also about describing the character through the world around them and through their actions. When these factors come together, you can create a vivid description that not only tells the reader a lot about your character's personality but also sparks the reader's imagination. That, after all, is what reading is all about.

And while we'll mostly be discussing character description in prose, we'll also be discussing how character description is important when writing your character profiles. Since character profiles are best utilized before you write your novel, we'll start there.

Creating a character profile can help you when it comes time to write. It can ensure that you know your major characters intimately before you start writing. These profiles are about more than just character description, but for the purposes of this article, we'll focus on the physical attributes, as they're the building blocks for writing descriptive prose.

Think of a profile as a character sketch. You're not trying to get every single detail down, as it's always good to leave room for spontaneity when you're writing your novel . But when it comes to the basics of how the character looks, it can help to nail down the details.

This includes things like eye color, facial expression, height, weight, build, hair color, skin color, any disfigurements or scars, and things like tattoos or birthmarks. This should also include clothing and any other accessories, such as hats, watches, necklaces, and piercings.

You don't have to get fancy with the profile. Just get the information down so you can refer to it later. If you want to go the extra mile, you can write down some varying descriptions of your character as if you're writing the novel. It's often easiest to focus on one physical attribute at a time until you're comfortable. These practice descriptions can lend inspiration when you start writing in earnest.

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Description in your book is a bit different than in your profile. A good description can give the reader a glimpse at the character's personality traits as well as their appearance. There are many different ways to write a great character description, but they all have one thing in common: they're creative and anything but boilerplate.

Many new writers opt for the list-style of description, thinking that less is more. They often look like this:

“He had piercing green eyes, sandy blond hair, and stood a stocky and solid six-foot-two. He had a slight limp and the musculature of a man who works hard for his living.”

While this may be fine for a minor character, it falls a little flat for a major character that you want the audience to know intimately. So for ideas on how to write character descriptions, let's look at some examples from some masters of the craft.

“His present dog was a huge white brute, a mountain dog from the South. He had named it Halina, after his second wife, with whom it shared some personality traits. . . It weighed almost as much as he did and its coat was matted and filthy; it lifted its massive head and watched him with lunatic eyes.”

This description, from Dave Hutchinson's Europe in Autumn , is a great example of how to describe physical appearance. Neither the man nor his dog is a major character in the story, but the description tells you a little about the K9 and its owner in a few concise sentences.

“He did not look like anything special at all.”

This one-sentence description in Jonathan Safran Foer's Everything is Illuminated is an excellent example of “less is more.”

“When he did appear his eyes were as brown as I remembered, pupils flecked with gold like beach pebbles.”

This description is from Sub Rosa by Amber Dawn. It's a compelling use of simile to create a picture of a character's appearance in the reader's mind. Note that she doesn't use tired and worn-out similes such as “eyes as blue as the summer sky” or “hair as red as autumn leaves. Getting creative with figurative language can work out very well.

“He smiled understandingly — much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced — or seemed to face — the whole eternal world for an instant, and then concentrated on you with an irresistible prejudice in your favor.”

This description, from The Great Gatsby by F. Scott Fitzgerald, focuses on the character's actions to tell the reader about him. Or, rather, on a single action: a smile. At the same time, the writer is telling the reader something about the POV character, giving insights into how the narrator sees the character while describing him.

Tips for Writing Character Descriptions in Prose

Most writing teachers and authors will tell you that if you want to write, you need to read. And the descriptions above should be shining examples of why that is sage advice. Reading how the authors you love write character description is key. But I've included some tips you can use when it comes time to write your own masterpiece!

This is where the character profile comes in handy. Not only does it keep you on track (there's nothing worse than realizing you switched a character's eye color halfway through a book) but it also allows you to keep a picture of your character fresh in your mind's eye.

So keep a list handy. Even if it's just the basics, like “black hair” or “brown eyes” and the like, it helps.

One of the most oft-quoted pieces of advice from Strunk & White's The Elements of Style is “Omit needless words.” For writers old and new, this advice is sound indeed for writing character descriptions. We've all read a book where the description of a character goes on for pages and pages and we find ourselves asking, “When will we get back to the story?”

This is something to avoid at all costs. So edit your descriptions down as much as possible. Don't use flowery language for its own sake. Instead, try to get your point across to the reader in as concise a manner as possible. You don't have to get into a character's backstory with the description if it will interrupt the flow of the story.

Remember that you want to create a vivid character in the reader's mind, but that doesn't mean that you want to take all of their imagination out of it. Leave something for the reader to interpret, if at all possible.

Description isn't all about a character's physicality. It's also about how the character interacts with the world around them. The way a man sits on a couch or a woman drives a car or a child eats an ice cream cone can all add to the character's description. A sentence about what a couple does while waiting in line at the movies can tell the reader more than a paragraph of straight description.

The way a character walks, the way they gesture when they talk, the way they squint when they're thinking. These are all great ways to add to a character's vividness and depth through description.

Describing a person, fictional or otherwise, can be done by looking at what is there and what isn't there. In fact, sharing what isn't there — what's missing — can be a great way of describing a person. As a writer, this can also help you develop your craft and keep your prose fresh. Whether this is a missing limb, a shirt pocket that has been torn off, or the lack of seeming intelligence on a vacant face, the absence of things can say a lot about a character.

As a rule in fiction, it's best to limit your use of adverbs. And the use of adjectives in character descriptions is no exception. Like adverbs, adjectives can become a crutch that holds back more concise and creative writing. This is not to say that you shouldn't use them on occasion. Sometimes an adjective is just the right kind of word for character description. Just keep in mind that overusing them can lead to reader fatigue and overly flowery language.

This should go without saying, but practicing your description will go a long way to becoming a better writer. When you consciously sit down to write a compelling character description, you can really think about what you want to say and how best to say it.

To do this, choose a character archetype and flesh that archetype out into a full-fledged person through descriptive language. Try writing several descriptions of the same character type, focusing on a few different tributes each time. You can try writing one where you focus on appearance. One on movement. One on how she/he interacts with the world around them. One on clothing. And one on what's missing (if anything). These practices can help you get your head around how best to describe a character in any given situation.

Description can also tell the reader about the POV character or narrator. And if your narrator is also your protagonist, this can be very important. This is because, short of having your character stand in front of a mirror and describe herself, there aren't many easy ways to describe your POV character without taking the reader out of the story. So, a great way to enlighten the reader is to use the way your narrator sees other characters. This can often be in the form of physical comparisons that the narrator makes or insights that they glean from watching/interacting with another character.

Not only does this add to the main character's believability, but it also provides an opportunity for character development as the story progresses. Perhaps your POV character has a bad habit of comparing himself to others he learns to break. Or perhaps he focuses too much on physical attributes to the detriment of seeing who other characters really are.

Whether you're writing a short story , novella, or a 1,000-page tome, you'll want to get familiar with character descriptions. The best way to start this is with a character profile. This will help you with your character analysis, which is great for fleshing out your main character, villain, and even secondary characters that need brief but compelling descriptions.

Once you have the basics of your character down, you can start experimenting with description. By focusing on one major character trait at first, you can develop your own style of description. Then you can incorporate more attributes, sharing only a couple at a time as your novel progresses.

Be concise, creative, and don't forget to look for what is and what isn't there. Use movement, interactions, and gestures to make vivid and crisp character descriptions. 

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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How to describe a person vividly: 8 ways

Learning how to describe a person so that the reader forms a vivid impression of your characters is essential for writing compelling stories. Read 8 tips for describing characters so they come to life:

• Post author By Jordan
• 12 Comments on How to describe a person vividly: 8 ways

Knowing how to describe a person so that your reader forms a vivid impression is vital for immersive writing. How can you describe a person precisely and avoid pace-crushing info dumps or eyes, eyes, eyes? Read 8 ways to write better, varied character description:

8 ways to describe people in a story

• Start with character profiles and pin boards
• Focus on details that reveal personality, use detailed descriptive language
• Practice describing people in brief
• Prioritize unique character features
• Describe character actions and gestures
• Find descriptive precise adjectives and fitting comparisons, use descriptive verbs too
• Describe personality via dialogue and voice
• Read writers renowned for good characterization

Let’s dive into each of these ideas for bringing your characters to life:

1. Start with character profiles and pin boards

Before you begin describing people who’ll populate your story, it’s useful to sketch character ideas . It helps if you can answer questions such as:

• What clothing does my character wear?
• What is idiosyncratic or recognizable about how my character moves? What does their body language reveal?
• What would a stranger notice first about this character if they entered a room?
• What is their physical description? What is their eye and hair color, do they have freckles, scars or tattoos?

To build richer descriptions , you could create a pin board on Pinterest before you draft of clothing your character would wear, places they might love to visit. Any visual reference point that captures the essence of their persona.

Another option is to answer character prompts to build a character profile , which you can do in the Now Novel dashboard as you build a downloadable story outline packed with useful story background.

In our monthly writing craft webinars, writing coach Romy Sommer also suggests ‘reverse-casting’ your characters for inspiration:

2. Focus on details that reveal personality

A character’s hair or eye color doesn’t tell the reader much (there are other ways to use eye descriptions to build personality).

When you introduce a character, focus on details that reveal character personality or psychology .

Here’s Dostoevsky describing his character Katerina Ivanova (who has tuberculosis) in  Crime and Punishment (1866):

Describe habitual actions to reveal personality

Katerina Ivanovna had just begun, as she always did at every free moment, walking to and fro in her little room from window to stove and back again, with her arms folded across her chest, talking to herself and coughing. Fyodor Dostoevsky, Crime and Punishment (1866), Chapter 7.

Dostoevsky conveys Katerina’s fragile mental health and state clearly. The coughing is a reminder of her life-threatening condition. The fact she continues to pace despite her discomfort suggests her determined, fighting spirit, which we see in further scenes.

You could also use descriptions of a character’s physical appearance to show their personalities, for example: ‘Jenna’s curly hair was bouncy, like her character. bouncy and bubbly.’

Use objects such as possessions left behind to suggest persona

The acclaimed short story author Alice Munro is a master of understated character development.

In her story ‘Free Radicals’, Munro describes a recently-widowed woman named Nita coming to terms with her husband’s death:

She thought carefully, every morning when she first took her seat, of the places where Rich was not. He was not in the smaller bathroom, where his shaving things still were, along with the prescription pills for various troublesome but not serious ailments which he’d refused to throw out. Alice Munro, ‘Free Radicals’, available via The New Yorker

Munro creates the emotional affect of a deceased spouse’s absence by describing objects in detail that remain once they’ve gone.

A precise detail – the prescription pills Rich refused to throw out – describes something about his hoarding character.

Detail the type of behavior characters might exhibit

Another way to describe a character’s personality is to give an example of something they might do.

Further on in the story, Munro describe pranking behavior that was typical of Rich to suggest a playful nature:

He was of course not out on the half-scraped deck, ready to peer jokingly in the window – through which she might, in earlier days, have pretended to be alarmed at the sight of a peeping tom. Munro, ‘Free Radicals’

The details Munro shares combine character behavior (Rich’s joking at the window) and setting detail (pills left behind that he refused to discard) to simultaneously create a sense of character and place . Her details describe the way people inhabit their spaces. This creates Rich as a vivid, lingering, ghostly presence in Nita’s memory.

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3. Practice describing people in brief

One thing to avoid in choosing how to describe a character in a story is an info dump.

Info-dumping character description makes your reader go, ‘Oh, the author wants to squeeze in everything they possibly can about their character.’ It alerts your reader to the author’s hand, the wizard behind the curtain conjuring Oz. Such spurious description may lose your reader. 

Instead, pick a specific detail to focus on for an introduction, and bring in other visual or descriptive character details as they become relevant to the story/action.

Examples of how to describe people succinctly

Here are a few examples of character descriptions that are precise and impactful:

Her hair had been long and wavy brown then, natural in curl and colour, as he liked it, and her face bashful and soft – a reflection less of the way she was than of the way he wanted to see her. Alice Munro, ‘Dimensions’, Too Much Happiness (2009), p. 2. Available online .

Note how Munro succinctly creates a sense not only of a character’s appearance but how it is affected by her being in a controlling relationship (which we find out more about as the story continues).

A sense of time and change is bundled with character description as we read a factor that shaped the protagonist Doree’s past appearance, now changed at the story’s start.

Below, Kent Haruf uses simile drawn from two elderly brothers’ farmland world to describe their appearance:

Their faces were red and weather-blasted below their white foreheads, the coarse hair on their round heads grown iron-gray and as stiff as the roached mane of a horse. Kent Haruf, Eventide (2004), p. 3.

Practice describing characters in three lines or less. What can you compare their appearance to? What does it say about them?

4. Prioritize unique character features

A large part of learning how to describe a person believably is showing what makes them unique or distinctive.

The Victorian author Charles Dickens, a master of characterization, described people with vivid, characteristic humor.

Here Dickens describes the schoolmaster Thomas Gradgrind, ‘a man of facts and calculations’ in his novel  Hard Times (1854):

The emphasis was helped by the speaker’s voice, which was inflexible, dry, and dictatorial. The emphasis was helped by the speaker’s hair, which bristled on the skirts of his bald head, a plantation of firs to keep the wind from its shining surface, all covered with knobs, like the crust of a plum pie, as if the head had scarcely warehouse-room for the hard facts stored inside. Charles Dickens, Hard Times (1854), full text on Project Gutenberg .

Although Dickens describes his character’s hair, he uses a striking visual metaphor (‘a plantation of firs’).

This leads quickly back to description showing the schoolmaster’s fact-obsessed nature (‘…as if the head had scarcely warehouse-room for the hard facts stored inside’).

Dickens takes the description of Gradgrind as obstinate and fact-obsessed further:

The speaker’s obstinate carriage, square coat, square legs, square shoulders, – nay, his very neckcloth, trained to take him by the throat with an unaccommodating grasp, like a stubborn fact, as it was, – all helped the emphasis. Dickens, Hard Times

Thus Dickens mines a single, defining detail – Gradgrind’s tyrannical obsession with fact over imagination – for cohesive, comical description.

If Dickens had simply said ‘he was balding and inflexible and would lecture the students about facts’, this would create some sense of character. Dickens instead writes stronger description to show us what the character is like.

Yet the unique details Dickens chooses make Thomas Gradgrind especially vivid.

5. Describe character actions and gestures

Showing characters’ gestures and actions is an important part of bringing characters to life.

The way your characters move , their body language and gestures, is a key part of describing personality, status, or mental state.

In the example from Dostoevsky above, Katerina Ivanovna’s anxious pacing conveys her mounting fear over her husband (who drinks away the little money they have).

In Hard Times , Dickens uses movement and body language to reinforce the impression of Gradgrind as domineering and forceful:

“Girl number twenty,” said Mr. Gradgrind, squarely pointing with his square forefinger, “I don’t know that girl. Who is that girl?” “Sissy Jupe, sir,” explained number twenty, blushing, standing up, and curtseying. Dickens, Hard TImes

Dickens extends Gradgrind’s ‘squareness’ through his pointing. Sissy Jupe’s own body language conveys both her own bashfulness and the fact that Gradgrind wields stern authority over his pupils.

Dickens could simply use dialogue for the schoolmaster’s inquiry. Because of Gradgrind’s gestures, though, we get a clear sense of his dominant, demanding persona.

6. Find descriptive adjectives and fitting comparisons

There are two useful tools for accurate description of characters in stories: Precise, exact adjectives , and comparative language.

Finding adjectives to describe people with positive and negative connotations

Positive adjectives to describe a person include:

• Kindness: Kind, fair, caring, thoughtful, non-judgmental, respectful, loving
• Conscientiousness: Principled, upstanding, disciplined, rigorous, thorough, careful, decisive
• Selflessness: Selfless, giving, generous, dedicated
• Intelligence: Smart, insightful, perceptive, brainy, whip-smart, aware, informed, knowledgeable
• Attractive: Beautiful, stunning, gorgeous, hot, sexy, alluring, glamorous, studly, magnetic, hypnotic, fit [UK slang]

These are just some adjectives to describe a person in positive terms. If you need a good word for description:

• Look up a similar, broader word in a thesaurus.
• Find a word you like and look up its full definition and even etymology to ensure it has the right connotations (latent or associated meanings).

Negative adjectives to describe a person might include:

• Cruelty: Cruel, unkind, nasty, vicious, wicked, evil, despicable, malevolent, vindictive
• Ugliness: Hideous, vile, gross, creepy, fugly, monstrous, disgusting
• Boring: Dull, dreary, insufferable, tedious, insipid, bland
• Non-intelligence: Stupid, thick, ignorant, cretinous, basic

Keep in mind that some words to describe people negatively may have socially-offensive connotations (for example ‘dumb’ in the informal sense to mean stupid comes from ‘mute’).

If in doubt, find the most exact adjective whose connotations cannot be read another way.

Find fitting comparisons and use figurative language describing character

Comparisons are a great tool for writing character descriptions that are vivid. Look at how Dickens describes Gradgrind’s bald head in the example above, for example. Dickens uses metaphor (there is no ‘like’ or ‘as though’ which would make it a simile): ‘[Gradgrind’s hair] bristled on the skirts of his bald head, a plantation of firs to keep the wind from its shining surface.’

Now this isn’t the most fitting description (Gradgrind’s head has nothing to do with trees or a plantation of firs). Yet it conjures a precise, memorable image.

In Toni Morrison’s Song of Solomon , a father’s anger is shown using the metaphor of a volcano likely to erupt at an time.

Morrison extends this metaphor beautifully to show how Macon’s (the father) anger affects his daughters:

Solid, rumbling, likely to erupt without prior notice, Macon kept each member of his family awkward with fear. His hatred of his wife glittered and sparked in every word he spoke to her. The disappointment he felt in his daughters sifted down on them like ash, dulling their buttery complexions and choking the lilt out of what should have been girlish voices. Toni Morrison, Song of Solomon (1978), p. 10.

7. Describe personality via dialogue and voice

In deciding how to describe characters in your story, dialogue and voice in narration are two powerful tools to create a persona.

People’s speech describes so much about who they are:

• Tone : Is a person often angry, huffy, disappointed (like Macon in the example by Toni Morrison above)
• Vocabulary: Does the person have an extensive vocabulary suggesting they are educated or well-read or the opposite?
• Diction: Does the character have a marked accent, drawl, lisp or other distinguishing feature of the way they speak?
• Voice: What are the actual timbral qualities of your character’s voice? Is it high, low, or in-between? Loud or soft? Grating or pleasant to the hearer?

What your characters talk about (and what they leave unsaid) describes their persona in addition to visual descriptive details. Tweet This

8. Read writers renowned for their characterization

To learn how to describe a person brilliantly, collect memorable character descriptions . Read authors who are particularly noted for their vivid characters.

Many short story authors ( such as Anton Chekhov ) are good at compressing character detail into shorter passages.

Here, for example, is Chekhov describing his character Mihail Petrovitch Zotov, an old man, through dialogue and action tags in his story ‘The Dependents’:

“What an existence!” he grumbled, rolling crumbs of black bread round in his mouth. “It’s a dog’s life. No tea! And it isn’t as though I were a simple peasant: I’m an artisan and a house-owner. The disgrace!” Anton Chekhov, ‘The Dependents’, available online.

Chekhov combines this portrait of the character’s psychological state with description of his appearance:

Grumbling and talking to himself, Zotov put on his overcoat, which was like a crinoline, and, thrusting his feet into huge clumsy golosh-boots (made in the year 1867 by a bootmaker called Prohoritch), went out into the yard. Chekhov, ‘The Dependents’.

Start keeping a journal where you collect character descriptions that strike you as effective. This can become a useful source of inspiration to page through when you are sketching out your own characters.

Before concluding, let’s briefly take a look at how to detail character if you are writing in the first person. So far, we have looked at how to describe when you are writing in the third person point of view. First person description examples will need to be slightly different as you don’t have access to the omniscient narrator device. 

There are various ways to do so, however, and effectively. For example another character could comment on the appearance of the first-person character. Here are some ways:

‘John looked at me with a shocked expression and asked why I had black dots under my eyes.’

‘I glanced into the mirror, and noticed my mascara had smudged, leaving a trail of black dots under each eye.’

Ready to flesh out your characters and get feedback on character descriptions? Start outlining characters , and get constructive feedback from the Now Novel community when you’re ready to revise.

Now Novel is a great platform for all writers to check out – especially for plotting, brainstorming, characterisation and even world building. Their customer service is top notch and I highly recommend NN!— MJ

Related Posts:

• How to describe hands: 6 ways to make characters real
• How to describe setting: 6 ways to bring setting to life
• How to start a novel in third person: 7 tips
• Tags character description , description writing , how to describe a person

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

12 replies on “How to describe a person vividly: 8 ways”

Great post 🙂 Thanks for the tips!

Thanks, Amy! It’s a pleasure. Thanks for reading.

My name is Muhammad saqlain mushtaq I am from pakistan

Hi Muhammad, welcome to our blog. Let me know if you have any questions about character description (or anything else writing related) and I’ll do my best to answer them.

Thanks for very descriptive and inspiring inputs. Impressive and very helpful. This is helpful not only for me but also for everyone. My salute .

Hi Alex, it’s a pleasure. Thank you for reading our blog.

Hi😊 It’s your newest fan here. Thanks Jordan😊

Hi Glajol, I’m glad you’re a fan of our blog. Thank you for reading and saying hi.

I feel like everything you wrote was meant for me because I’m having alot of trouble describing my characters,so thanks alot

Hi Kaitlyn, I’m so glad to hear that. Hope your story goes well further.

Jordan- Wow! This information on building vivid characters is exactly what I was looking for. I am in the early stage of my writing career and struggling with describing my scene or setting and characters. Thank you for providing this resource. This information is great!

Dear Melika, Thanks so much for your comments! So pleased to hear them. All the very best with your writing.

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Tips and tools to tell your story.

The Ultimate Guide to Mastering Character Descriptions

I couldn’t understand why because I’m a very descriptive writer. Describing landscapes? I got that. Fantasy creatures no one’s ever seen before? You betcha. Medieval cities? I’m a pro.

But when it came to people, suddenly I couldn’t find any words that worked. No matter what words I used, the descriptions fell flat instead of bringing my characters vividly to life.

I didn’t realize then that I was going about my character descriptions all wrong—I thought I just sucked at describing people. Years later, though, I learned that anyone can write a stellar character description, even if descriptive writing isn’t their strong suit!

Any of this sounding familiar? Describing characters is something a lot of writers struggle with, myself included. Though I’ve come a long way since my first feeble (and horrible) attempts, it’s still something I have to work harder at than other types of description.

I don’t know if I’ll ever understand why people seem to be so tricky to describe, but I don’t want you to face the same frustrations and struggles that I did. You’re not alone, and I’m here to help, friend!

I’ve written this MONSTER guide to answer all of the most frequently asked questions about describing characters I’ve gotten from writers like you. I’ve also created FREE worksheets and cheat sheets to make describing your characters a whole lot easier, so be sure to grab those below! (No email sign-up required!)

What Is the Purpose of Character Description?

I feel like the purpose of character description often gets somewhat muddled in writers’ minds. If I asked you why you want to describe your character in your story, what would your answer be? You would probably say you want to give the reader a clear mental picture of what your character looks like.

That’s a valid reason, but there’s another that is even more important but sometimes gets overlooked.

The main way I use character description in my stories is as a form of characterization. Through descriptive details, I try to reveal the character’s personality so that not only does the reader come away with a mental picture of what the character looks like, but they also get a feel for who the character is.

Before I viewed description as an opportunity to characterize, I was hung up on the description itself. I thought character descriptions had to be beautiful and lush with detail. I felt a lot of pressure to find the right words so my readers would picture my character exactly as I did. I thought because I couldn’t write gorgeous character descriptions, I sucked at them.

But you know what I finally realized? Describing a character is more about characterization than flowery language. Once I realized this, a lot of the pressure I felt toward describing my characters lifted.

When Should I Describe My Character?

Whenever you introduce a new character, you should try to describe her as soon as possible. Why? Because the moment a character steps onto the page, the reader’s imagination will immediately begin to conjure an image.

For example, let’s say I encounter a character named Louise in a story. I immediately begin to picture a brunette woman in a retro dress, bright red lipstick, and fashionable glasses. Don’t ask me why, that’s just the image that springs to mind.

Now, this image may or may not match up to the author’s own personal idea of what she intends Louise to look like. If the author doesn’t give me any details to provide me with a different mental picture ASAP, I’m going to stick with my own version.

If you wait too long to describe your character, the reader will likely reject your description in favor of their own mental image. Let’s say you’re reading a story and you’ve been imagining the heroine as a petite girl with a blonde pixie cut, but halfway through the book you find out she’s actually 6 foot tall with waist-length black hair.

That discovery will be jarring to the reader. Since the read is already familiar with the mental image she had created for the character, she will likely ignore this description and keep imagining her the way she likes. I have done this several times myself as a reader!

To avoid this situation, try to describe a new character as soon as she’s introduced to provide the reader with the mental image you want them to have.

Now, there is one exception to this. If a character is introduced in the middle of an action scene, you do NOT want to bring the action to a screeching halt to describe them. Wait until things have calmed down, and then you can describe them. It’s okay to wait a few pages, I promise.

Which Characters Should I Describe?

You don’t have to give a detailed description of every character in your novel. You should give most of the attention to your main characters, and then add a little detail to your secondary characters.

You don’t need to describe the desk clerk at the hotel, the taxi driver, or the bartender. Some characters are just background extras that don’t have any importance in the story so you don’t want to spend any more time on them than necessary.

If you start describing these types of characters you call attention to them, and you could confuse the reader into thinking they might be important later when really they have no significance other than filler to make your story world feel fleshed out. So let the reader’s imagination fill in the blanks on this one, or limit yourself to a brief, simple description like “the burly bartender.”

I also want to point out that there tends to be a difference between how main characters and secondary characters are described. Secondary characters are often more colorful, exaggerated, and quirky. Because they have a small role, they have to burn bright to be memorable. So feel free to get crazy with your secondary characters and have some fun!

How Much Should I Describe?

The amount of character description really depends on the writer and their writing style. Some writers are really good at writing beautiful character descriptions, so they might make their descriptions longer. Other writers have a very to-the-point and less descriptive writing style, so their character descriptions may be very sparse.

I would say a paragraph of character description should be more than enough (with 3-5 sentences being one paragraph). Any more than that might start leaning toward too much, but it’s always a judgment call. A reader can only remember so many details and you don’t want to overwhelm them. Often, less is more.

Funnily enough, I don’t think there’s any danger in describing too little. In fact, some writers intentionally choose not to describe their characters at all. Now, you’re probably thinking, why in the world would any writer want to do this? Good question.

One argument for not describing your characters is to allow the reader full control over how they want to imagine them.

Remember how earlier we talked about readers immediately conjuring mental images for characters? Readers’ imaginations are powerful and very good at filling in the blanks. Some readers prefer to imagine things their own way and not be told how to image them by the author.

Another argument for this tactic is that when a character is left undescribed, the reader will often project their own physical features onto the character.

So if they’re blonde, they’ll likely image the character as blonde. If they’re Asian, they’ll likely imagine the character as Asian. This is why some authors prefer not to describe their heroes—so that the reader can imagine the hero looks like herself, no matter her physical features or race.

It’s a beautiful thought that one character could look so many different ways to so many different readers!

So really, it comes down to personal choice. When you have a specific image in your head of what your character looks like, it can be hard to relinquish control and let the reader imagine them however they want. However, if you want the reader to picture the character a certain way, then by all means provide them with that description!

But keep in mind that no matter how meticulously detailed your description is, your readers won’t recreate your mental image with 100% accuracy (and that’s okay!).

Words aren’t photographs, and that can sometimes be challenging and frustrating. This is why the best advice I can give you is to focus on characterizing with description instead of focusing on writing the most accurate description possible.

What Should I Describe?

Many writers have trouble moving beyond hair and eye color in their descriptions, and I get it. Those two things are the easiest and most obvious to describe. But what else can you say about a character’s physical appearance?

To create an effective character description, it’s all about 1) choosing the right details to convey personality, and 2) choosing the most interesting details. Remember, you don’t need to describe everything. You just need to describe the best things.

For example, depending on which details you choose to focus on, you could convey a wild character (spiked lime-green Mohawk, mermaid tattoo, wearing a live yellow boa constrictor as a scarf), a sloppy character (uncombed hair, wrinkled shirt, crumbs in beard), or a timid character (hunched posture, eyes cast downward, plain/muted clothing).

Notice how I only mentioned a few details but already you probably have a pretty good visual picture of these characters and a feel for who they are. It doesn’t take much! And these types of details tell the reader far more about the character than “he had jet black hair and blue eyes.” Ask yourself what this character is like, and how you can express this visually.

Here are some ideas of what you can describe to get you started:

• Facial features (face shape, eyes, nose, lips, jaw, chin, brows, ears, cheekbones, facial hair)
• Hair color, texture, and style
• Build/body type and height
• Skin texture (weathered, wrinkled, smooth, hairy, etc.)
• Skin afflictions (acne, eczema, oily, moles, warts, boils, etc.)
• Distinguishing features (scars, freckles, birthmarks, tattoos, piercings, etc.)
• Clothing, accessories, and personal items
• Voice/accent
• Gestures, body language, mannerisms

How Do I Describe My Characters? (Tricks for Better Descriptions)

1. Avoid Creating a Grocery List of Physical Traits

Don’t merely list out your character’s physical traits like you’re checking items you need off a list. It will end up sounding like this:

“He was a young man with brown eyes and black hair. He was tall and wore jeans with a red t-shirt.”

Blah! The problem with this sort of description is that it’s completely forgettable and boring. It doesn’t create a vivid image that brings the character to life. It doesn’t reveal anything unique or interesting about him. This description is far too basic; we need to go deeper to create a character that pops off the page. Read on to find out how!

2. Choose Interesting Details

As I already mentioned earlier, you want to choose interesting details about your character that show his personality. Don’t go overboard here—two or three should be plenty. One carefully chosen detail can say far more about your character’s personality than five or ten general details.

3. Use Similes and Metaphors

Using similes and metaphors help to give a more vivid picture and a stronger emotional impression about a character.

For example, instead of “He was tall” a better description would be: “His towering bulk loomed in front of her like a mountain, immovable and impassable.”

The first is just a stated fact. However, the second gives us the feeling that this character is formidable and might pose a problem or obstacle, and the imagery is much stronger.

4. Consider Perception

The description of a character can change depending on who is describing him. For example, a man’s wife will describe him far differently than his enemy.

Consider how your viewpoint character perceives the character being described, and communicate their impression through word choice and the details they focus on.

5. Get Specific

The more specific you can get with your details, the more vivid and interesting your description will be and the more it will reveal about the character.

For example, instead of “He had blue eyes” try, “His eyes were the same turbulent, depthless blue as the sea he had sailed upon since he was a boy.”

The first tells us nothing, while the second suggests the character is dealing with some sort of internal turmoil and also reveals he’s a sailor.

6. Add Movement

People aren’t still-life portraits. When you put your characters into action, it helps bring the description to life.

What is your character doing? Clutching nervously at her purse on a busy street? Tapping her foot as she waits in line for coffee? Hunching her shoulders and ducking her head as she walks through the school halls? Hot wiring a car? Dancing in the middle of the supermarket?

Actions help to reveal the character’s emotions, hint at what’s going on beneath the surface, and characterize her further.  Try to incorporate body language, posture, mannerisms, and other actions into your descriptions.

Let’s Review

Now that you know the why, when, who, what, and how of describing your characters, it’s time to practice writing some descriptions of your own. It’s okay if your descriptions don’t turn out perfect at first—I promise the more you practice, the better you will become!

To help make things easier, I’ve created a collection of FREE worksheets for you to use. You’ll find cheat sheets that list physical details for easy reference and ideas, in-depth description worksheets to help you uncover the most interesting details about your character, and my 5 step no-fail character description template.

Click below to download + print these resources and get started! (No email required! It’s 100% free. Seriously.)

Key Takeaways:

• Describing a character is more about characterization than flowery language.
• When you introduce a new character, describe her as soon as possible before the reader creates and grows accustomed to their own image.
• You don’t have to give a detailed description of every character in your novel, just the important ones.
• Secondary characters often have more colorful, quirky descriptions to make them more memorable due to their smaller roles in the story.
• How much you describe is up to you. Some writers choose not to describe their characters at all so the readers can create their own images.
• You don’t need to describe everything about your character, you just need to describe the best things.
• Choose details the most interesting details that convey your character’s personality.
• Ask yourself “What is this character like?” and then express this visually

Additional Resources:

• 5 Simple Ways to Describe Characters
• 6 Simple Ways to Write a Physical Description
• Describing Character’s Clothing
• Describing Character Mannerisms
• Master List of Voice Descriptions
• Describing Skin Tones of People of Color
• 300+ Words to Describe Skin
• Great Character Descriptions From Fantasy Books
• Learn Character Description From the Pros (Examples of Descriptions)
• Face Claim Directory (Find photos that match your character’s description)

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2 thoughts on “ The Ultimate Guide to Mastering Character Descriptions ”

Hi Kaitlin, great post. I like what you say about choosing physical details based on how they convey personality. Will share with our audience. Thanks for including Now Novel among your additional resources, too.

Thanks, Bridget, I appreciate you sharing! And I was more than happy to include Now Novel, your articles are always great resources! 🙂

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The Gigantic List of Character Descriptions (70+ examples)

The vast majority of character descriptions are simply lazy.

They recycle typical ideas about hair, eye color, and build, giving you more information about the character’s fitting for a dress or suit than the type of information you need to know them intimately.

The first thing you should do when describing a character is to pick a category that isn’t so overused. Such as trying to describe: 

Describing your character in an innovative way will help retain the reader’s interest. You want your reader to be asking questions about this character, to not only learn something about them but to create mystery. What made them like this? How long have they been this way? Is there someone currently after them or is this paranoia because of a past experience?  Questions like these are what keeps the reader reading. 

Not only physical descriptions are needed. Consider: “How is this person viewed by another character?” Do they seem dangerous, alluring, secretive, suspicious? The way another character views someone else gives insight about them as well. Are they attracted? Repulsed? Curious? 

Another thing to take notice of is the type of person they are, despite their appearance.

• How do they think?
• What do they feel?
• How do they view/react to certain situations compared to how others would?
• What is their mental state?

Here is a list of examples of brilliant character descriptions to give you an idea and help you come up with your own:

3 Categories: Modern Literary, Literature, Popular

Modern Literary

1. vladimir nabokov, lolita.

” … Her skin glistening in the neon light coming from the paved court through the slits in the blind, her soot-black lashes matted, her grave gray eyes more vacant than ever.”

2. Marilynne Robinson, Housekeeping

” … in the last years she continued to settle and began to shrink. Her mouth bowed forward and her brow sloped back, and her skull shone pink and speckled within a mere haze of hair, which hovered about her head like the remembered shape of an altered thing. She looked as if the nimbus of humanity were fading away and she were turning monkey. Tendrils grew from her eyebrows and coarse white hairs sprouted on her lip and chin. When she put on an old dress the bosom hung empty and the hem swept the floor. Old hats fell down over her eyes. Sometimes she put her hand over her mouth and laughed, her eyes closed and her shoulder shaking.” 

3. Jeffrey Eugenides, The Marriage Plot

“Phyllida’s hair was where her power resided. It was expensively set into a smooth dome, like a band shell for the presentation of that long-running act, her face.”

4. China Miéville, This Census-Taker

“His hand was over his eyes. He looked like a failed soldier. Dirt seemed so worked into him that the lines of his face were like writing.”

5. Mikhail Bulgakov, The Master and Margarita

“And then the hot air congealed in front of him, and out of it materialized a transparent man of most bizarre appearance. A small head with a jockey cap, a skimpy little checked jacket that was made out of air … The man was seven feet tall, but very narrow in the shoulders, incredibly thin, and his face, please note, had a jeering look about it.”

6. Barbara Kingsolver, The Poisonwood Bible

“Mama BekwaTataba stood watching us—a little jet-black woman. Her elbows stuck out like wings, and a huge white enameled tub occupied the space above her head, somewhat miraculously holding steady while her head moved in quick jerks to the right and left.”

7. John Kennedy Toole, A Confederacy of Dunces

“A green hunting cap squeezed the top of the fleshy balloon of a head. The green earflaps, full of large ears and uncut hair and the fine bristles that grew in the ears themselves, stuck out on either side like turn signals indicating two directions at once. Full, pursed lips protruded beneath the bushy black moustache and, at their corners, sank into little folds filled with disapproval and potato chip crumbs. In the shadow under the green visor of the cap Ignatius J. Reilly’s supercilious blue and yellow eyes looked down upon the other people waiting under the clock at the D.H. Holmes department store, studying the crowd of people for signs of bad taste in dress. Several of the outfits, Ignatius noticed, were new enough and expensive enough to be properly considered offenses against taste and decency. Possession of anything new or expensive only reflected a person’s lack of theology and geometry; it could even cast doubts upon one’s soul.”

8. A.S. Byatt, Possession

“He was a compact, clearcut man, with precise features, a lot of very soft black hair, and thoughtful dark brown eyes. He had a look of wariness, which could change when he felt relaxed or happy, which was not often in these difficult days, into a smile of amused friendliness and pleasure which aroused feelings of warmth, and something more, in many women.”

9. Jonathan Safran Foer, Everything is Illuminated

“He did not look like anything special at all.”

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10. Henry Lawson, The Bush Girl

“ Grey eyes that grow sadder than sunset or rain, f ond heart that is ever more true F irm faith that grows firmer for watching in vain —  She’ll wait by the sliprails for you.”

11. Ralph Ellison, Invisible Man

“I am an invisible man. 
No I am not a spook like those who haunted Edgar Allen Poe: 
Nor am I one of your Hollywood movie ectoplasms.
 I am a man of substance, of flesh and bone, fiber and liquids -
- and I might even be said to possess a mind. 
I am invisible, simply because people refuse to see me.”

12. F. Scott Fitzgerald, The Great Gatsby

“He smiled understandingly-much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced–or seemed to face–the whole eternal world for an instant, and then concentrated on you with an irresistible prejudice in your favor.”

13. Thomas Wolfe, Look Homeward, Angel

“My brother Ben’s face, thought Eugene, is like a piece of slightly yellow ivory; his high white head is knotted fiercely by his old man’s scowl; his mouth is like a knife, his smile the flicker of light across a blade. His face is like a blade, and a knife, and a flicker of light: it is delicate and fierce, and scowls beautifully forever, and when he fastens his hard white fingers and his scowling eyes upon a thing he wants to fix, he sniffs with sharp and private concentration through his long, pointed nose…his hair shines like that of a young boy—it is crinkled and crisp as lettuce.”

14. Rudyard Kipling, The Jungle Books

“A black shadow dropped down into the circle. It was Bagheera the Black Panther, inky black all over, but with the panther markings showing up in certain lights like the pattern of watered silk. Everybody knew Bagheera, and nobody cared to cross his path, for he was as cunning as Tabaqui, as bold as the wild buffalo, and as reckless as the wounded elephant. But he had a voice as soft as wild honey dripping from a tree, and a skin softer than down.”

15. Charles Dickens, Great Expectations

“[Miss Havisham] had shut out infinitely more; that, in seclusion, she had secluded herself from a thousand natural and healing influences; that, her mind, brooding solitary, had grown diseased, as all minds do and must and will that reverse the appointed order of their Maker…”

16. John Knowles, A Separate Peace

“For such and extraordinary athlete—even as a Lower Middler Phineas had been the best athlete in the school—he was not spectacularly built. He was my height—five feet eight and a half inches…He weighed a hundred and fifty pounds, a galling ten pounds more than I did, which flowed from his legs to torso around shoulders to arms and full strong neck in an uninterrupted, unemphatic unity of strength.”

17. Ambrose Bierce, Chickamauga

“-the dead body of a woman—the white face turned upward, the hands thrown out and clutched full of grass, the clothing deranged, the long dark hair in tangles and full of clotted blood. The greater part of the forehead was torn away, and from the jagged hole the brain protruded, overflowing the temple, a frothy mass of gray, crowned with clusters of crimson bubbles—the work of a shell.”

18. Jane Austen, Pride and Prejudice

“…your manners, impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form the groundwork of disapprobation on which succeeding events have built so immovable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.”

19. Mark Twain, The Adventures of Huckleberry Finn

“He was most fifty, and he looked it. His hair was long and tangled and greasy, and hung down, and you could see his eyes shining through like he was behind vines. It was all black, no gray; so was his long, mixed-up whiskers. There warn’t no color in his face, where his face showed; it was white; not like another man’s white, but a white to make a body sick, a white to make a body’s flesh crawl – a tree-toad white, a fish-belly white. As for his clothes – just rags, that was all. He had one ankle resting on t’other knee; the boot on that foot was busted, and two of his toes stuck through, and he worked them now and then. His hat was laying on the floor – an old black slouch with the top caved in, like a lid.”  

20. William Golding, Lord of the Flies

“Inside the floating cloak he was tall, thin, and bony; and his hair was red beneath the black cap. His face was crumpled and freckled, and ugly without silliness.”

21. Jane Austen, Persuasion

“Vanity was the beginning and end of Sir Walter Elliot’s character: vanity of person and of situation. He had been remarkably handsome in his youth, and at fifty-four was still a very fine man. . . .”

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22. Andrew Lang, The Crimson Fairy Book

“When the old king saw this he foamed with rage, stared wildly about, flung himself on the ground and died.”

23. Joseph Conrad, Heart of Darkness

“He was commonplace in complexion, in feature, in manners, and in voice. He was of middle size and of ordinary build. His eyes, of the usual blue, were perhaps remarkably cold, and he certainly could make his glance fall on one as trenchant and heavy as an axe… Otherwise there was only an indefinable, faint expression of his lips, something stealthy — a smile — not a smile — I remember it, but I can’t explain.” 

24. Anne Bronte, The Tenant of Wildfell Hall

“His heart was like a sensitive plant, that opens for a moment in the sunshine, but curls up and shrinks into itself at the slightest touch of the finger, or the lightest breath of wind.”

25. Max Beerbohm, Zuleika Dobson

“He followed with his eyes her long slender figure as she threaded her way in and out of the crowd, sinuously, confidingly, producing a penny from one lad’s elbow, a threepenny-bit from between another’s neck and collar, half a crown from another’s hair, and always repeating in that flute-like voice of hers: “Well, this is rather queer!””

26. Aldous Huxley, Brave New World

“He had a long chin and big rather prominent teeth, just covered, when he was not talking, by his full, floridly curved lips. Old, young? Thirty? Fifty? Fifty-five? It was hard to say.”  

27. Maya Angelou, I Know Why the Caged Bird Sings

“Her skin was a rich black that would have peeled like a plum if snagged, but then no one would have thought of getting close enough to Mrs. Flowers to ruffle her dress, let alone snag her skin. She didn’t encourage familiarity. She wore gloves too.  I don’t think I ever saw Mrs. Flowers laugh, but she smiled often. A slow widening of her thin black lips to show even, small white teeth, then the slow effortless closing. When she chose to smile on me, I always wanted to thank her.”

28. D.H. Lawrence, Lady Chatterley’s Lover

“But her will had left her. A strange weight was on her limbs. She was giving way. She was giving up…”

29. Henry James, The Aspern Papers

“Her face was not young, but it was simple; it was not fresh, but it was mild. She had large eyes which were not bright, and a great deal of hair which was not ‘dressed,’ and long fine hands which were–possibly–not clean.”   

30. Edward Bulwer-Lytton, Zanoni Book One: The Musician

“She is the spoiled sultana of the boards. To spoil her acting may be easy enough,—shall they spoil her nature? No, I think not. There, at home, she is still good and simple; and there, under the awning by the doorway,—there she still sits, divinely musing. How often, crook-trunked tree, she looks to thy green boughs; how often, like thee, in her dreams, and fancies, does she struggle for the light,—not the light of the stage-lamps.”

31. Gustave Flaubert, Madame Bovary

“Living among those white-faced women with their rosaries and copper crosses…” 

32. Charles Dickens, Great Expectations

“Though every vestige of her dress was burnt, as they told me, she still had something of her old ghastly bridal appearance; for, they had covered her to the throat with white cotton-wool, and as she lay with a white sheet loosely overlying that, the phantom air of something that had been and was changed, was still upon her.” 

33. Rudyard Kipling, Many Inventions

“He wrapped himself in quotations – as a beggar would enfold himself in the purple of Emperors.”

34. Mark Twain, The Adventures of Huckleberry Finn

“He was sunshine most always-I mean he made it seem like good weather.” 

35. Hugh Lofting, The Story of Doctor Dolittle

“For a long time he said nothing. He kept as still as a stone. He hardly seemed to be breathing at all. When at last he began to speak, it sounded almost as though he were singing, sadly, in a dream.”

36. Charles Dickens, Great Expectations

“I loved her against reason, against promise, against peace, against hope, against happiness, against all discouragement that could be.”

37. Edwin A. Abbott, Flatland: A Romance of Many Dimensions

“He is himself his own World, his own Universe; of any other than himself he can form no conception; he knows not Length, nor Breadth, nor Height, for he has had no experience of them; he has no cognizance even of the number Two; nor has he a thought of Plurality, for he is himself his One and All, being really Nothing.”

38. Jamie McGuire, Beautiful Oblivion

“Her long platinum blond hair fell in loose waves past her shoulders, with a few black peekaboo strands. She wore a black minidress and combat boots.”

39. N.K. Jemisin, The Hundred Thousand Kingdoms

“His long, long hair wafted around him like black smoke, its tendrils curling and moving of their own volition. His cloak — or perhaps that was his hair too — shifted as if in an unfelt wind.” 

40. M.L. LeGette, The Orphan and the Thief

“A creature–a frightfully, awful creature–was mere feet from her. Its eyes were enormous, the size of goose eggs and milky white. Its gray, slippery skin was stretched taut upon its face. Its mouth was wide and full of needle teeth. Its hands rested on the rock, hands that were webbed and huge with each finger ending in a sharp, curved nail. It was as tall as a human man, yet oddly shrunken and hunched.”  

 41. Amber Dawn, Sub Rosa

“When he did appear his eyes were as brown as I remembered, pupils flecked with gold like beach pebbles.” 

 42. Julia Stuart, The Tower, The Zoo, and The Tortoise

“His hair had been grown to counteract its unequivocal retreat from the top of his head, and was fashioned into a mean, frail ponytail that hung limply down his back. Blooms of acne highlighted his vampire-white skin.” 

43. James Lee Burke, The Neon Rain

“His khaki sleeves were rolled over his sunburned arms, and he had the flat green eyes and heavy facial features of north Louisiana hill people. He smelled faintly of dried sweat, Red Man, and talcum powder.” 

44. Stephenie Meyer, Twilight

“I vividly remembered the flat black color of his eyes the last time he glared at me – the color was striking against the background of his pale skin and his auburn hair. Today, his eyes were a completely different color: a strange ocher, darker than butterscotch, but with the same golden tone.” 

45. Brian Malloy, Twelve Long Months 

“Whith her hair dyed bright red, she looks like Ronald McDonald’s post-menopausal sister. Who has let herself go.”     (This is one of my favorites, because I find it ridiculously funny)

46. Joan Johnston, No Longer A Stranger

“Actually, Reb had the same flawless complexion as her sister– except for the freckles. Her straight, boyishly cut hair fell onto her brow haphazardly and hid beautiful arched brows that framed her large, expressive eyes. She had a delicate, aquiline nose, but a stubborn mouth and chin.” 

47. Brian Morton, Breakable You

“Without her glasses Vivian did look a little frightening. She had tight sinewy strappy muscles and a face that was hardened and almost brutal – a face that might have been chiseled by a sculptor who had fallen out of love with the idea of beauty.”

48. Anne Rice, The Vampire Armand

“I saw my Master had adorned himself in a thick tunic and beautiful dark blue doublet which I’d hardly noticed before. He wore soft sleek dark blue gloves over his hands, gloves which perfectly cleaved to his fingers, and legs were covered by thick soft cashmere stockings all the way to his beautiful pointed shoes.” 

49. Becca Fitzpatrick, Black Ice

“His brown hair was cropped, and it showed off the striking s ymmetry of his face. With the sun at his back, shadows marked the depressions beneath his cheekbones. I couldn’t tell the color of his eyes, but I hoped they were brown…The guy had straight, sculptured shoulders that made me think swimmer …” 

50. E.C. Sheedy, Killing Bliss

“He stood, which put him eye to eye with the dark-haired woman whose brilliant, burning gaze poured into his worthless soul like boiling tar, whose mouth frothed with fury–and whose hand now curled, knuckles white, around a steak knife.”  (The author gives a lot of details about the characters emotions, but there is not one specific detail about neither of their appearances. Use this as an example of how physical appearances aren’t always the most important thing.)

51. James Lee Burke, The Neon Rain

“His wiry gray and black hair was dripping with sweat, and his face was the color and texture of old paper. He looked up at me from where he was seated on his bunk, and his eyes were hot and bright and moisture was beaded across his upper lip. He held a Camel cigarette between his yellowed fingers, and the floor around his feet was covered with cigarette butts.”  

52. Suzanne Collins, The Hunger Games

“She has bright, dark eyes and satiny brown skin and stands tilted up on her toes with arms slightly extended to her sides, as if ready to take wing at the slightest sound.”

53. Becca Fitzpatrick, Hush, Hush

“He was abominable…and the most alluring, tortured soul I’d ever met.”   (This isn’t describing him physically, but it is giving insight to how the main character views him)

54. J. K. Rowling, Harry Potter and the Sorcerer’s Stone

“A giant of a man was standing in the doorway. His face was almost completely hidden by  a long, shaggy mane of hair and a wild, tangled beard, but you could make out his eyes,  glinting like black beetles under all the hair.” 

55. Anne Rice, Violin

“I deliberately thought of him, my violinist, point by point, that with his long narrow nose and such deep-set eyes he might have been less seductive to someone else–perhaps. But then perhaps to no one. What a well-formed mouth he had, and how the narrow eyes, the detailed deepened lids gave him such a range of expression, to open his gaze wide, or sink in cunning street.”

56. Kevin Brooks, Lucas

“As I’ve already said, the memory of Lucas’s walk brings a smile to my face. It’s an incredibly vivid memory, and if I close my eyes I can see it now. An easygoing lope. Nice and steady. Not too fast and not too slow, Fast enough to get somewhere, but not too fast to miss anything. Bouncy, alert, resolute, without any concern and without vanity. A walk that both belonged to and was remote from everything around it.” 

57. Anne Rice, Violin

“And she looked the way he had always hated her–dreamy and sloppy, and sweet, with glasses falling down, smoking a cigarette, with ashes on her coat, but full of love, her body heavy and shapeless with age.” 

58. Kevin Brooks, Lucas

“As we drew closer, the figure became clearer, It was a young man, or a boy, dressed loosely in a drab green T-shirt and baggy green trousers. He had a green army jacket tied around his waist and a green canvas bag slung over his shoulder. The only non-green thing about him was the pair of scruffy black walking boots on his feet. Although he was on the small side, he wasn’t as slight as I first thought. He wasn’t exactly muscular, but he wasn’t weedy-looking either…there was an air of hidden strength about him, a graceful strength that showed in his balance, the way he held himself, the way he walked….” 

59. Iris Johansen, The Face of Deception

“Kinky tousled curls, only a minimum of makeup, large brown eyes behind round wire-rimmed glasses. There was a world of character in that face, more than enough to make her fascinating-looking instead of just attractive.” 

60. Dennis Lehane, A Drink Before the War

“Brian Paulson was rake thin, with smooth hair the color of tin and a wet fleshy handshake…. His greeting was a nod and a blink, befitting someone who’d stepped out of the shadows only momentarily.” 

61. Gena Showalter, The Darkest Night

“Pale hair fell in waves to his shoulders, framing a face mortal females considered a sensual feast. They didn’t know the man was actually a devil in angel’s skin. They should have, though. He practically glowed with irreverence, and there was an unholy gleam in his green eyes that proclaimed he would laugh in your face while cutting out your heat. Or laugh in your face while you cut out his heart.”

62. Sam Byers, Idiopathy 

“Now here he was: sartorially, facially and interpersonally sharpened; every inch the beatific boffin.”

63. Maggie Stiefvater, The Raven Boys

“As always, there was an all-American war hero look to him, coded in his tousled brown hair, his summer-narrowed hazel eyes, the straight nose that ancient Anglo-Saxons had graciously passed on to him. Everything about him suggested valor and power and a firm handshake.” 

64. J.R.R. Tolkien, Lord of the Rings: The Fellowship of the Ring

“The face of Elrond was ageless, neither old nor young, though in it was written the memory of many things both glad and sorrowful. His hair was dark as the shadows of twilight, and upon it was set a circlet of silver; his eyes were grey as a clear evening, and in them was a light like the light of stars.” 

65. Fredrik Backman, A Man Called Ove

“People said Ove saw the world in black and white. But she was color. All the color he had.”  

66. Frank Herbert, Dune

“…a girl-child who appeared to be about four years old. She wore a black aba, the hood thrown back to reveal the attachments of a stillsuit hanging free at her throat. Her eyes were Fremen blue, staring out of a soft, round face. She appeared completely unafraid and there was a look to her stare that made the Baron feel uneasy for no reason he could explain.” 

67. Orson Scott Card, Ender’s Game

“Ender did not see Peter as the beautiful ten-year-old boy that grown-ups saw, with dark, tousled hair and a face that could have belonged to Alexander the Great. Ender looked at Peter only to detect anger or boredom, the dangerous moods that almost always led to pain.”

68. Caitlin Moran, How to Build a Girl

“He had his head in his hands, and his tie looked like it had been put on by an enemy, and was strangling him.”

69. Graham Joyce, Some Kind of Fairy Tale

“Peter was a gentle, red-haired bear of a man. Standing at six-four in his socks, he moved everywhere with a slight and nautical sway, but even though he was broad across the chest there was something centered and reassuring about him, like an old ship’s mast cut from a single timber.”

70. Brad Parks, The Girl Next Door

“…in addition to being fun, smart, and quick-witted—in a feisty way that always kept me honest—she’s quite easy to look at, with never-ending legs, toned arms, curly brown hair, and eyes that tease and smile and glint all at the same time.” 

71. Dennis Lehane, A Drink Before the War

“Sterling Mulkern was a florid, beefy man, the kind who carried weight like a weapon, not a liability. He had a shock of stiff white hair you could land a DC-10 on and a handshake that stopped just short of inducing paralysis.”

72. Philip Pullman, The Golden Compass

“Lord Asriel was a tall man with powerful shoulders, a fierce dark face, and eyes that seemed to flash and glitter with savage laughter. It was a face to be dominated by, or to fight: never a face to patronize or pity. All his movements were large and perfectly balanced, like those of a wild animal, and when he appeared in a room like this, he seemed a wild animal held in a cage too small for it.”

73. Sherman Alexie, The Lone Ranger and Tonto Fistfight in Heaven

“I thought she was so beautiful. I figured she was the kind of woman who could make buffalo walk on up to her and give up their lives. She wouldn’t have needed to hunt. Every time we went walking, birds would follow us around. Hell, tumbleweeds would follow us around.”

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29 comments

woowwwwwwwwie

Love the compilation. Thank you for doing this

This is a great compilation! My students are working on writing characters right now, so I’m having them look through your list to see examples of a job well done 🙂 Thanks!

Thanks I’m using these for students to make character drawings from

This is really helpful ! Love it !

Do you have a way, where you could put the characters physical traits in this website?

Thank you for the awesome list. You should add this one; it’s from Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde: “Mr. Utterson, the lawyer, was a man of rugged countenance, that was never lightened by a smile; cold, scanty and embarrassed in discourse; backward in sentiment; lean, long, dusty, dreary, and yet somehow lovable.” There’s more after, but I thought this was a good description.

And this one: “Mr. Hyde was pale and dwarfish, he gave an impression of deformity without any nameable malformation, he had a displeasing smile, he had borne himself to the lawyer with a sort of murderous mixture of timidity and boldness, and he spoke with a husky, whispering, and somewhat broken voice: all these were points against him, but all of them together could not describe the hitherto unknown disgust, loathing, and fear with which Mr. Utterson regarded him.”

The quote that stood out to me the most was the quote from ‘The Census Taker’. That quote captured the characters feelings so well. The author was able to compare in self worth by saying it was as dirt, so much so that the dirt was written in his skin. I have never seen self worth and failure described as part of a person’s face.

Thank you. I echo Chris’s comment Wowwwwww and add a few!!!!

Wonderful! Reading these enabled me to rewrite the descriptions for my two leading characters.

Thank you for this, very helpful! I don’t know if this is really related, but I’m writing a story including a mean girl who bullies the main character (also a girl). I’m struggling to write what the mean girl uses to bully the main character – what I end up coming up with is way too mean or unreal, etc.

Blinded by tears, she could hear the haze of pink shout, “See, poor baby cries. Great actress, dear. Why do you waste your talent on us, here?”

great great any book for description of physical appearance in narrative

Great list. And I have one to add. It’s from Michael Moorcock, riding the new wave of British sci-fi back in the 1960s. He’s been a favorite of mine for decades. The passage is from “Elric of Melniboné:”

“It is the colour of a bleached skull, his flesh; and the long hair which flows below his shoulders is milk-white. From the tapering, beautiful head stare two slanting eyes, crimson and moody, and from the loose sleeves of his yellow gown emerge two slender hands, also the colour of bone, resting on each arm of a seat which has been carved from a single, massive ruby.”

Thanks for this – very useful compilation for teaching – makes life so much easier! And helps in my writing, to look at expressions and word arrangements… I notice how some writers seem so good in visual description, and some others seem to be much better at character expressions..

wowzers!!! this is so cool!

I planned to just read a few, but I couldn’t stop reading. These are awesome! Thank you.

“Character Description” on The John Fox’s blog is a treasure trove of valuable tips and techniques for crafting compelling characters. The blog explores the art of painting vivid and multi-dimensional personas, adding depth to storytelling. Aspiring writers will find this guide indispensable for creating memorable characters that resonate with readers.

holy MOLY, thank you!

I liked them

wow thanks you have really helped me but can you put something to describe a character that is a tyrant please? that would really help

Absolutely remarkable. So very helpful in every since of the word.

OH HELLL YEAAAAAAAAAAAAAAAA

A killer set of fine examples! Thanks for compiling it!

Please, add sentences that can apply to more characters.

Love it but should be more single sentences

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Last updated on Mar 08, 2024

How to Create the Ultimate Character Profile [+ Template]

Ask any great novelist and they’ll likely tell you that good writing starts with good characters. But sharp character development is also one of the toughest hills to climb, especially if you’ve struggled to think through those tried-and-true questions that keep you up at night:

• Are my characters convincing?
• Do my characters have depth?
• How do I make sure my character  has an arc ?

If you’re having these doubts, you might want to turn to the age-old solution: a character profile. 

What is a character profile?

A character profile is a detailed biography of a persona that covers everything from their age and appearance to their relationships with others. By understanding parts of their life that readers might not discover during the course of the story, an author can better understand that character’s life, personality, motivations, and their function within a story.

In this post, we will show you our three-part process for assembling a character profile.

What makes a good character profile template?

Many character bibles present exercises that ask you, “If your character was a color, what color would they be?” For many writers, this is either overkill or a bit too 'woo-woo' for their tastes, and they prefer to create a profile that deals in verifiable facts: height, age, and profession.

Our suggestion lies somewhere between those two approaches, where you build a holistic picture of your character in the context of your story. Our character profile worksheet is in three parts. If you treat a person like an apple, they’re going to have three layers of depth: the “skin,” the “flesh,” and the “core.” (Otherwise known as their physical appearance, backstory, and psychology.) That’s how this character profile template is structured — and if you have a particular area that you’d like to hone, you can skip to it below. Otherwise, this character bible will start with the eagle eye’s view of your character.

The Three-Part Character Profile Template:

• The Outer Layer, or Physical Appearance
• The Flesh, or Backstory
• The Core, or Psychology

How to create a character profile

As another reminder, we strongly recommend our character profile template in a PDF format and fill it out as you go along! Download it below for free right here. 

FREE RESOURCE

Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

1. Construct the character's outer appearance

To be able to identify a criminal, detectives build a painstakingly thorough file of said criminal’s physical characteristics.

That’s the goal of this section, which covers the “skin” of your character: everything from their outer appearance to the way that they speak. Think of it as a kind of offender profile — one that can help you spot your character in the middle of a crowded Times Square.

The Basics 📖

• Place of birth
• Current location
• Nationality

Physical Appearance 👀

What's their:

Do they have any distinguishing features (tattoos, scars, birthmarks)?

What's their preferred outfit?

Do they wear glasses? 👓

What accessories are ALWAYS associated with them (cane, pipe, necklace, etc.)? 🌂

What's their usual level of grooming?

• Smart, very put together
• Untidy but clean

Do they have any distinguishing “tics” and mannerisms?

What's their health like? Do they suffer from chronic illnesses? 🏥

Describe their handwriting (sloppy, neat, careful, unintelligible). ✍

How do they walk? 👣

• Confident, powerful strides
• Lazy stroll
• Fast, walks at a clip
• Distracted, eyes on the ground

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Speech and Communication 💬

How do they talk (rapid, slow, measured, drawl, etc.)?

What's the style of their speech (elevated, educated, peppered with slang, etc.)?

Do they have an accent?

• Stiff, military
• Casual and relaxed
• ‘Turtle,’ tired

Do they gesture?

• Only when agitated or eager
• Doesn’t gesture
• Compulsive “hand-talker”
• Controlled, only to make a point
• Other? If so, explain:

How much eye contact do they like to make (direct, shifty, etc.)?

What's their preferred curse word?

What's their catchphrase?

Any speech impediments?

What are any distinguishing speech “tics”?

What's their laugh like? What do they tend to find funny?

Describe their smile?

How emotive are they? Do they wear their emotions on their sleeve? How easily can others read them?

They have a resting _____ face.

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2. Build out the character's backstory

Characters don’t exist in a vacuum — they’re a product of their environment.

This section in the character template dives a bit deeper into your character and covers their “flesh”: the people, circumstances, and formative influences that filled them out and made them who they are today. It’s the springboard to your character’s biography.

What's the name of their hometown? 🏡

What type of childhood did they have (sheltered, neglected, etc.)?

Describe their education. 🍏

Were they involved in organizations and clubs at school?

• Gay / Straight Alliance

At graduation, they were named Most Likely To ___________ in the yearbook. 🎓

Jobs (if applicable)? What would their résumé look like? 💼

What was their dream job as a child? Why?

Who were their role models growing up? Describe them. 👨‍👦

What's their greatest regret?

What were their hobbies growing up? ⛳

Favorite place to be as a child?

What's their earliest memory?

What's their saddest memory?

What's their happiest memory?

What's their clearest memory?

What are their skeletons in the closet? 💀

If they could change one thing from their past, what would it be? Why? ⏳

Describe the major turning points or “life beats” in childhood.

What are three adjectives to describe them as a child?

What advice would they give to their younger self?

List their criminal record. ⚖

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• Age (if living)
• Briefly describe their relationship with your character
• What are their names and ages?
• Briefly describe their relationship(s) with your character

Children 👶(if applicable)

Extended family 👴

• Grandparents
• Uncles and aunts

What's their family's economic status? 💰

How often do they see their family in a year?

External Relationships 💜 

Who are their closest friends? Describe them.

Who are their other significant friends? 👋

Enemies? Describe them. 😡

How are they perceived by:

• strangers in the street?
• acquaintances at a work function?
• colleagues in the office?
• authority figures?
• friends in their friend circles?
• the opposite sex?
• extended family?

What social media platforms are they on?

• X (formerly known as Twitter)
• Other? If so, explain.

How would they use their social media platforms?

How would they fill out an online dating profile for themselves? ✨

What’s their role in a group dynamic? 💡

Who do they depend on for:

• practical advice?
• emotional support?
• moral support?

How quickly do they respond to emails? 📨

What do they want from a relationship?

Who would be their ideal partner? 💖

Who is their significant other? Describe them. 💕

How many people would attend their funeral?

Part 3. Understand the character's goals and motivations

We’ve come now to the “core”: who your character is deep down.

This section in the character profile worksheet covers the “heart” of your character. If a backstory shapes a dynamic character , this will define them. More importantly, it will help inform the two most important points leading up to your novel: the character’s story goal and story motivation .

Psychology 💭 

What do they do on rainy days?

• Street-smart or book-smart
• An optimist or pessimist
• Introverted or Extroverted

What is their favorite sound? 🔊

Favorite place in the world? 🌎

What secrets do they keep? What are they most afraid of people finding out? 🔒

What do they want the most? 🔍

What's their biggest flaw?

What's their biggest strength?

What's their biggest fear?

What is their biggest accomplishment? 📈

What is their idea of perfect happiness?

What's their favorite quote? 👌

Do they want to be remembered? What for? ⌚

How do they approach:

What is the one object or possession that they would rescue from their burning home? 🔥

What (or who) bores them? 💤

What makes them angry? 💢

What do they look for in a person?

How strong is their moral compass? When, specifically, are they willing to compromise their morals?

List the last 10 books they read. 📚

Which fictional world would they most wish to visit?

If they didn’t have to sleep, what would they do with the extra time?

What are their pet peeves? ⚠

If they won the lottery, what would they do?

Describe the character’s bucket list at the ages of 15, 20, 30, and 40.

List the 10 songs that would occupy their All-Time Most Played playlist on Spotify. 🎵

What is the best compliment that someone ever paid them?

In an elevator, do they push the elevator button more than once? 🚪

What would they want their tombstone to say?

The Present and Future 🔮 

What is their story goal? (answer in a single paragraph)

Story motivation (answer in a single paragraph)

In other words: what does your character want in the story?  And why do they want it?

Every other answer in the character profile template builds up to this. It's critical information to know because it’ll make up the unshakable foundation — and raison d'être — for your story. Whenever you feel like your story is straying off course, go straight back to your character’s story goal and motivation, and you'll find the beating heart of your book.

24 responses

Rachel Mendell says:

02/06/2018 – 12:23

excellent! so much info - thank you.

↪️ Reedsy replied:

07/06/2018 – 04:37

Our pleasure, Rachel. Glad that it helped!

Diane says:

07/06/2018 – 08:50

Wow! I tried to find such kind of list many times. Thank you so much! Creating character is always difficult for me. I imagine tutoriage character but it was not full. With this list Finally I will finish it.

22/01/2019 – 15:37

Nice I was gonna make one myself but this is great since normally I obsess to the point of procrastination.

Gwendolyn Clark says:

13/05/2019 – 00:09

I was never sent a copy to download

↪️ Martin Cavannagh replied:

13/05/2019 – 08:20

Hi Gwendolyn, could you drop us an email at [email protected] and we'll sort you out with a link :)

Sabrina Douglas says:

08/06/2019 – 16:40

I have not received the PDF yet.

10/06/2019 – 13:48

With Gmail, our emails often can be found in the Promotions folder. if it's not there, send us an email at [email protected] and we'll sort you out :)

Tactical Weasel says:

08/06/2019 – 23:18

I was never sent a copy to download either.

Ibidun says:

02/07/2019 – 01:47

This is a developed list of questions for sure. Thank you!

susannelorraineharford says:

21/08/2019 – 08:01

Thanks! Great help in this articke. X peace, susanne

james bolin says:

22/08/2019 – 21:05

This my be a crazy question, but I am writing a science fiction book, and I already made character profiles for my ow use. But, that being said, would it make sense to also include a section in the book that includes all the main characters profiles. It would serve as a reference in case someone wants to know the characters hair color, birth date, and other details. any advice would help thanks

23/08/2019 – 09:04

It would be a somewhat unusual move — but it's not for me to say if it's wrong. Often, you see books provide family trees and brief histories of the 'world' of the story... but that tends to be so that readers can check up on facts that are highly relevant to relationships and plot of the book. In almost all cases, readers won't really need to know things like hair color or date of birth. So, I'd think hard before putting a character stat sheet in your book.

↪️ Nyla replied:

02/09/2019 – 16:12

I don't see why not! Some books did it (sort of); Wings of Fire, Tailchaser's Song, Warriors... I don't think including one would be a bad move. Definitely not something that would kill your story. Keep in mind that I'm a beginner when it comes to books, so I may not know any better. I'm just saying that in my opinion, I don't think it's a bad move.

Satyajay Mandal says:

25/08/2019 – 04:31

You can tweet me to get more updates on the story I'm directing

02/09/2019 – 16:13

What do you mean by "education"? Like what school they went to?

17/09/2019 – 09:02

Yup. Are they a college grad? What did they study? Did they leave school at 18 and take up an apprenticeship — that sort of thing.

27/09/2019 – 14:03

Will i ever get the document to download!

07/10/2019 – 15:48

Hi Sky, if you're still having trouble downloading the template, could you drop us a message at [email protected]? Thanks! Martin

20/10/2019 – 03:56

I will update you about all the details

Max Sangers says:

23/03/2020 – 20:16

I like it, just pls refrain from bad language :)

26/03/2020 – 04:49

No need to refrain from using bad language, if it is assigned to the villains instead of the heroes/heroines

26/03/2020 – 05:02

No need to refrain from using bad language if it is assigned to the villains instead of the heroes/heroines

28/03/2020 – 05:01

This is @*#$ing AWESOME!!!

Comments are currently closed.

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Tricks for Describing a Character’s Appearance (With Examples)

Introducing a new character to your story can be difficult. There’s a lot that goes into it, and to make matters worse, you only have one chance to give readers a good (and memorable) first impression of that character. One of the ways you can do this is by giving them a distinct appearance, but many writers tend to fall short of describing appearance well. 

We’ve all heard the same cookie-cutter descriptions for characters a million times before. Golden hair, a heart-shaped face, a chiseled body, piercing eyes, yadda yadda… The problem with these descriptions is that they’re bland, they’re cliché, and they don’t really help your characters stand out. 

However, if you break from clichés, you can create uniquely vivid descriptions that will give your characters life. There are endless ways you can describe characters, and I’m not going to walk you through how I would describe every single possible human feature (or humanoid, animal, alien, etc). For one thing, that would take too long, but for another thing, descriptions are based on more than just the character’s physical appearance—their personality plays a part too. 

Tips for Describing a Character’s Appearance in a Story

There are a number of things to keep in mind when describing a character’s appearance. Here are just a few general tips before we dive into some more specific techniques for describing different parts of a character’s appearance. 

Don’t Make Everyone a Supermodel

This is probably one of the most (if not the most) important things to remember when describing a character. You should never objectively describe your characters as flawless. Humans aren’t perfect, so if you describe your characters like perfect little supermodels, they just won’t feel authentic. Worse still, they won’t stand out from the protagonists of every single young adult novel out there. You need to make them distinct, and to do that, you need to give your characters flaws . And I mean real flaws, not fake flaws that are actually just endearing traits packaged like flaws. 

Don’t Dump Everything Out at Once

Describing your characters is important, but you need to be able to keep it concise. No one wants to read a 7-page summary of every detail of a character’s appearance. You can go in-depth, sure, but don’t put your readers through a word-avalanche just for them to figure out what the character looks like. 

Remember, you can reveal more about the characters over time. When you introduce a character for the first time, you should focus on the things a person would naturally notice first, such as their face, hair, clothing, voice, and general energy. You can further elaborate on their appearance later when it is relevant, and describe their gait, posture, temperament, and more. 

There is one exception here I want to highlight. If you are telling a story from the first-person perspective, and you want to illustrate a character’s obsession with another person, hyper-fixating on the details can be a good way to show this. It can make the character seem creepy , and it can foreshadow the protagonist doing something bad to the person they are obsessing over. 

Don’t Sell Them Short

Opposite to the point above, you shouldn’t make your introductions too short. To some extent, it can be good to leave some parts of the character’s appearance up to the reader’s imagination. However, you should give them something to help them visualize the characters in the beginning. Otherwise, if you later reveal that the character has dark hair, all the readers that imagined them with light hair might have a difficult time accepting that. 

Descriptions are important, and they help to include a reader in the narrative. Like a well-described setting, vivid characters can help immerse readers into the world and make them part of the story. 

Use Their Personality

A character’s personality can have a large impact on how they are perceived, and therefore should alter the words you use to describe them. Two characters might have similar features, but based on their personality, you would describe them differently. 

For example, two characters might both be tall, but one would be described as “awkward and long” while the other is “towering.” In this case, the characters’ levels of confidence impact how they are perceived. For another example, think about two characters who both have light skin. You could describe one as looking like “porcelain” and describe the other one as “pasty,” depending on their other traits. Those two descriptions create very different perceptions from each other.   

Use the Point of View

If the character in question is being described from the first-person perspective of another character, then the protagonist’s opinions should sneak into the description. Your protagonist probably isn’t going to objectively evaluate the other person—they’re likely to rely on stereotypes, biases, and things they have heard from others about the character they’re looking at. Rely on that to make the description fit into the story more organically. 

Here are some examples: 

• She had no right to have such a disarming smile.
• His expression was empty—just like his head.
• His dark, tangled hair reminded me of a swamp.
• She didn’t even wear any makeup! But even more frustratingly, she didn’t really need it.
• They looked divine… like I wasn’t even worthy to look upon them. 
• He looked like the type of person to stare at his own reflection before getting in the shower. 
• They were short and stocky, but they could still probably beat me in a fight. 

Remember, your protagonist can make speculative judgments about the character they’re looking at. You’re telling the story as they experience it, so their judgments are part of the narrative!

“…he was greeted by the barista—a young teen who had not yet matured enough to be handsome. Once his soft cheeks hollowed and his jaw squared, and the childish optimism fled his eyes, then he would have the chance to smolder. That crooked smile would win over many hearts in the blink of an eye, but not just yet.”  – excerpt from a draft

Keep the Description Balanced

A good rule of thumb when describing characters (or anything else really) is to create a balance of concrete details and flowery imagery. You should alternate between those two, as well as general and more specific details, to make the description flow more naturally, and to make it more interesting to read. 

Imagine reading a description like: 

“His hair was red and curly. His eyes were large and green. He had freckles, but they weren’t that noticeable. He was tall but very thin.” 

That’s so dry, and it’s not fun to read. Compare that to a description that varies how the information is provided:

“His hair was like a massive red bush surrounding two wide, green eyes. Freckles faintly dotted his cheeks, but they were only really visible in the sunshine. His long, lanky body and large hair made him look a bit like a big red lollipop—which was only heightened by his tendency to blush often.”

Wasn’t that a lot more fun to read? Not only does it make the character description more interesting, but it also influences a reader’s perception of what the character is like. Certain words help readers to gauge what kind of person this character is. The first example gives no indication of personality, but the second one uses words like “sunshine” and “lollipop” to associate the character with lively, happy things. Additionally, using words like “lanky” and “blush” suggests that the character is awkward or shy, saving you the time of having to spell that out for readers. 

Give them Something Special

One helpful thing that I’ve learned over the years is that you should give your main character some distinctive feature that sets them apart from the other characters around them. Diverse descriptions are great, but it never hurts to make your main character a little more unique. This could be something like a distinctive scar, a tattoo, a weird eye color, a patch of silver or white hair, a missing or extra finger, a birthmark, or something else along those lines. That can make them stand out more, and it can be a really clear indicator that they are special. 

Although your story won’t suffer if you don’t give your main character a distinct feature like this, it is usually a good bet—especially if you think your story could ever conceivably be adapted into a visual medium, like a comic, animation, or film. That character could become iconic. People may just see your character somewhere and that alone could motivate them to read or watch the whole story. As another plus, it could give you a cool opportunity for your story’s cover. 

How to Describe a Character’s Face

When describing a character’s face, the easiest way to do that is to first break the face down into its essential parts: the eyes, the mouth, the nose, and the facial structure.

So let’s start with the eyes since they are the focal point of the face. Stay away from the descriptions you’ve heard a million times, like “piercing” or “doe-eyed.” The eyes are the window to the soul, and they can tell a reader a lot about a character. Instead of “piercing,” try “icy” or “sharp,” and instead of “doe-eyed,” try “wide,” “innocent,” or “full of wonder/awe.” The goal is to describe the character in a unique way to make it more interesting to read, while still creating a vivid image of that character. 

You can describe the shape, color, and depth of a character’s eyes, but you should be careful not to rely on insensitive generalizations. For example, instead of “Asian” eyes, use “almond-shaped” or “mono-lid.” Not all Asian people have mono-lids, so simply using the word “Asian” to describe the character’s eyes doesn’t actually narrow down what they look like. 

That goes for all the other features of the face, too. Though it is true that some features are more prominent in certain races, nothing is inherent. You shouldn’t rely on the character’s race or ethnic background alone to be the basis of your description. Saying that a character is Japanese or Jamaican without giving other details doesn’t do any more for the character’s description than saying they are European or white. Doing this only encourages your readers to stereotype your characters, even if that wasn’t your intention. 

With that said, don’t get too caught up in describing every detail of a character’s face. Give the most important information, such as the eyes, face shape, scars, and other notable details or imperfections, then move on. If a character has an exaggerated feature, such as a large nose or bushy eyebrows, then that’s important to mention too.

How to Describe a Character’s Hair

There are lots of different types of hair colors, textures, thicknesses, and shines, so try not to make all your characters have the same kind of hair—unless they’re related or part of a small, isolated community, of course. Hair can be curly and blond, sleek and black, coily and auburn, and even dyed wild colors. Making your characters’ hair more distinct will make them easier for readers to visualize, especially if you introduce many characters at one time. 

Beyond the basics, you can use words to describe a character’s hair that reflects who they are as a person. For example, describing a character’s hair as springy or bouncy could indicate the character is upbeat and moves excitedly. Slick, greasy, or wispy hair could suggest an untrustworthy or sneaky character. The words you use to describe the character’s hair will be subliminally applied to the character themself. 

How to Describe a Character’s Clothes

Clothing is an important element of self-expression, and what your character decides to wear can reflect a lot about them. However, unlike with the character’s face, you should not spend a lot of time describing their outfit. For one thing, they’re probably going to change their outfit at some point in the story—likely more than once. Secondly, readers just won’t care unless you give them a good reason to. 

If you want to describe what your character is wearing, make sure to keep it short. If it’s just a simple way of helping the reader visualize the character’s style, present the information objectively and in only a paragraph or two, such as: 

“She wore short-shorts and a denim jacket, and pink thigh-high socks that she had to keep pulling up because they always slipped down to her knees. Her tennis-shoes were white and bulky, as was the belt bag she wore off to one side. This free, laidback style was completed by the two messy buns her faded purple hair was pulled up into.”

However, there are a few times in which you can use clothing to explore more complex ideas in the story. For example:

• An article of clothing might have special significance to a character. It could have been handed down from a relative, it could be a favorite shirt, or it could be meaningful in other ways. That would merit drawing more attention to it. 
• An article of clothing might have special significance to the story. This could be a type of ceremonial outfit, a piece of magical armor, or something along those lines. That would require a more thorough in-depth description of the item. 
• An article of clothing may be unfamiliar to most of your readers, such as a specific cultural outfit or an unusual costume, in which case a descriptive explanation could help illustrate what it looks like. 
• A particular outfit could draw attention to a character, such as an attractive or surprising outfit, that could merit taking more time to describe it (and explain why it garners the character extra attention). 

How to Describe a Character’s Body

Describing a character’s body is fairly straightforward. Like with many other aspects of a character’s appearance, there are a few methods you can use to approach describing their body. You could take the objective approach, which would do just fine in most cases, or you could toy with your readers’ perceptions. 

I’ll start out with a word of caution. Too many times, I’ve seen unrealistic descriptions of characters’ bodies. Whether it’s a waist that’s impossibly thin or muscles like a bodybuilder on a teenager, people tend to push the boundaries of what the human body is even capable of. You need to keep your characters within the limits of what’s actually possible, unless you have a good reason for doing otherwise (genetically modified supersoldier, not actually human at all, etc). 

Now, as with some other aspects of the character’s appearance, you can get away with a simple, objective description, like “tall and muscular” or “short and curvy.” Honestly, that’s usually all you’ll need to do. However, bodies are commonly associated with physical attractiveness, and if attraction is the point of your description, you need to take a different approach. 

Writing about attraction is tough (which is why I go more in-depth about how to write about attraction in my other article, Romance 101: How to Write Characters Falling in Love ). You’ll want to highlight the positives of the character’s body—the elements of them that have caught your protagonist’s attention. Whether it’s biceps, legs, or a large chest, you’ll want to describe it in detail, as well as highlight what it is about them that has the protagonist so interested. Here’s an example:

“He was tall and sturdy, and even in this relaxed environment, his pose held power. The way his shirt stretched taut around his shoulders when he shifted snagged and held my attention—I couldn’t help but stare. Did he pick that shirt on purpose? He had to know the thin fabric clung close to his body, showing off every rippling muscle underneath…” 

How to Describe a Character’s Posture and Body Language

Body language is an often overlooked element of describing a character, but you should give it some thought even if you don’t intend to draw a lot of attention to it in the story. How does your character stand? How do they emote? Do they gesture when they speak? Do they fidget? Try to envision what they look like when they are waiting, actively engaged in a passionate conversation, and when they are uncomfortable. 

People move in different ways, even if they aren’t thinking about it. Come up with a list of movements and behaviors that are typical for the character, and utilize those movements to make dull scenes and conversations more interesting. Instead of just dialogue, you can give readers more to imagine as your character shifts their weight, runs their hand through their hair, or twists the hem of their shirt. This can also help to establish the tone of the conversation.  

A person’s body, personality, and mood will all influence how they move. If you establish a baseline for how the character stands and behaves when they are in a neutral mindset, this will help you keep them consistent over time by casually mentioning their body language throughout the story. As a bonus, it can also help you tip readers off if you want them to notice that something is bothering the character. If you have established that a character is pretty relaxed in most situations, readers will instantly notice if they exhibit anxious body language even if you don’t draw a lot of attention to it. 

How to Describe an Attractive Character

Describing an attractive character isn’t all that different from describing any other character. You still shouldn’t make them flawless, but you can put off mentioning their more negative qualities until later—especially if another character is looking at them through rose-colored glasses . 

One recommendation that I have for describing a character who is supposed to be extremely attractive is to keep their description vague. Beauty is subjective, so each reader is going to have a different idea of what “attractive” means. By all means, describe the basics of their appearance, such as hair color, eye color, skin tone, and whatnot, but don’t dive deep into the shape of their features. This will leave a little bit up to the reader’s imagination, and they will fill in the gaps in the character’s description with the traits that they find most attractive. 

Another helpful tip is to utilize the reactions of background characters to establish that the character is, in fact, attractive. Other people staring at the character or nudging and whispering to each other about them would help your reader understand that the character is good-looking, and alter their mental image of them accordingly. 

The Importance of Creating Vivid Visual Descriptions for your Characters

Creating vivid visual descriptions for your characters is incredibly important for a number of reasons. For one thing, being able to imagine the characters will help draw your readers into the story and immerse them in the world. Additionally, by giving your characters more distinct appearances, they will stand out more from each other, and from characters in other stories. The more complex and interesting the character, the more likely they are to stick in a reader’s mind for years after they finish reading the story. 

Good luck with writing your descriptions! I know you’ll write something great.

350 Character Traits – A Fabulous Resource For Writers

Use these lists of 350 character traits to help you select the positive and negative traits you need for the characters in your stories.

What Is A Character Trait?

A trait is a distinguishing quality or characteristic , typically one belonging to a person. It can be a genetically determined characteristic.

Traits are formed by a person’s behaviour and attitude to others. We all have good and bad character traits and we should remember this when we describe people.

Some synonyms used for the word ‘trait’ are: attribute, characteristic, feature, particularity, peculiarity, quality.

Tips For Including Character Traits

Even if you adore your protagonist and loathe your antagonist , it is important to remember that nobody is perfectly good, or perfectly evil.

Every character will have positive and negative personality traits. Make sure you have created real people rather than caricatures by giving your cast a selection of both.

Include them when you complete the character questionnaires for your fictional creations.

[Use our Character Creation Kit to create great characters for your stories.]

How To Use Character Traits In Plotting

When you know what your characters’ traits are, you can use this to add to or to change your plot.

• An unreliable character might lose a job and the course of the story will change.
• A helpful or scrupulous character may inadvertently find out information when they are lending a hand. This information could create conflict and might force them to act or react.
• A romantic might start an affair and cause complications in their relationships. This could be the inciting moment for a story.
• A selfish person may want to be more dependable  and self-disciplined , but this trait could prevent them from achieving this. You can use this to create internal conflict in your characters.
• A hostile character may want to be included in society to improve their life, but their anger will ensure this does not happen.

We hope these lists help you choose the negative and positive character traits you will need in your books.

Enjoy developing character traits . Have fun, and happy writing.

If you want to receive a  free  daily writing prompt, click  here  to join our mailing list.

If you enjoyed this post,  you will love:

• The 4 Main Characters As Literary Devices
• 15 Questions Authors Should Ask Characters ,
• 10 Things To Consider When Naming Characters ,
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Top Tip : Find out more about our workbooks and online courses in our shop .

• Creating Characters , Writing Tips from Amanda Patterson

7 thoughts on “350 Character Traits – A Fabulous Resource For Writers”

Tapping into this information is a lifeline when stuck in a mire. Thank you.

The information above is very useful, wish I had it when I wrote my first book

Thank you. We’re glad you liked it.

Thank you very much Amanda.

To write is to give breath to words….to love is to give words of life to others.

This will help me as I write and find my voice. Thank you.

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BRYN DONOVAN

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Master List of Physical Description for Writers

I created this list of ways to describe people

because physical description, when done well, helps the readers see characters in their minds. But sometimes when you’re in the middle of writing, it can be hard to think of physical adjectives and distinguishing features for characters. I find that describing facial features can be especially tricky!

That’s why I created this long list of physical characteristics. It’s kind of like a character description generator, and it’ll help you when you’re trying to think of how to describe a character’s appearance.

Eyes – General

 For all the words about describing facial features, I’m focusing more on physical descriptions rather than emotional expressions, though there’s a little crossover! You can also check out my long list of facial expressions.

heavy-lidded

fringed with long lashes

with sweeping eyelashes

with thick eyelashes

By the way, this post on how to describe (and not describe) the eyes of an Asian character  is really great. Check it out.

Eyes – Color

Brown is the most common eye color by far. Green is quite rare.

chocolate brown

cocoa brown

coffee brown

sienna brown

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cornflower blue

Arctic blue

glacial blue

crystal blue

electric blue

slate blue / slate gray

storm blue / storm gray

silver / silver gray

concrete gray

gunmetal gray

Skin – Color

Josh Roby made a great chart of skin tones and descriptor words, and I got a lot of these words from him. You can get that here .

The quote from N.K. Jemisin interested me: “I get really tired of seeing African-descended characters described in terms of the goods that drove, and still drive, the slave trade—coffee, chocolate, brown sugar. There’s some weird psychosocial baggage attached to that.” 

cream / creamy

rose / rosy

Skin – General

Some of these are better for the face, and some are better for other parts of the body.

translucent

luminescent

with large pores

weather-beaten

Face – Structure

heart-shaped

high forehead

broad forehead

prominent brow ridge

protruding brow bone

sharp cheekbones

high cheekbones

angular cheekbones

hollow cheeks

jutting chin

pointed chin

receding chin

double chin

dimple in chin

visible Adam’s apple

People don’t write much about noses, but they can be distinguishing features for characters!

Cupid’s bow

straight teeth

gap between teeth

gleaming white teeth

Facial Hair (or lack thereof)

clean-shaven

smooth-shaven

mutton-chop sideburns

a few days’ growth of beard

five o’ clock shadow

Hair – General

I threw a few hairstyles in here, though not many.

shoulder-length

neatly combed

slicked down / slicked back

buzzed / buzz cut

widow’s peak

Hair – Color

There are some repeats here from the eye color section!

salt and pepper

charcoal gray

brown sugar

tawny brown

toffee brown

Titian-haired

strawberry blonde

butterscotch

sandy blond

fair-haired

Body Type – General

average height

barrel-chested

heavy / heavy-set

pot-bellied

full-figured

leggy / long-legged

broad-shouldered

sloping shoulders

stubby fingers

long fingers

ragged nails

grimy fingernails

ink-stained

This list and many more are in my book Master Lists for Writers: Thesauruses, Plot Ideas, Character Traits, Names, and More . Check it out if you’re interested!

And if you don’t want to miss future writing posts, follow the blog, if you aren’t already — there’s a place to sign up on the lefthand side of the blog. Thanks for stopping by, and happy writing!

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127 thoughts on “ master list of physical description for writers ”.

Thanks, Bryn! This list has sparked a spark in my brain. I haven’t seen one of those for a while. I was getting worried I’d lost my flint!

I’m so glad you like it!

I love this, do you mind if we share on our blog WritersLife.org ?

Thanks for the positive feedback! You can’t reproduce it on your blog, but you can share an excerpt of 200 words or less plus a link to my site.

As a new novel writer all I can say is thank very much for sharing with us this wonderful list.

Ah you’re welcome! Thanks for visiting!

This is amazing! Thank you very much!

Thanks for the kind words–glad it seems helpful!

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Reblogged this on Of Fancy & Creativity .

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Aw thank you for this it helped so much! I’m 15 and I’m trying to write a novel and this was sooooo helpful so thank you a billion 🙂 Best wishes.

Ah you’re welcome! Thanks for stopping by. Good for you for working on a novel, and good luck–I bet it will go great!

Hi, Bryn Thank you for doing these lists. They helped me a lot. Can you make a list on how to describe emotions like sadness or anger.

It’s funny you should ask 🙂 There’s a list like that in my book MASTER LISTS FOR WRITERS coming out this fall! I haven’t officially announced it yet, but hey 🙂

You can get a free copy when it comes out if you agree to give it an honest review. SIgn up for my newsletter if you’re interested!

Reblogged this on Kalynn Bayron and commented: Yes! This is great!

Was just looking for this type of lists.Great work.

This is so helpful.

I love your blog, btw. Your posts are informative and/or inspirational.

Are you on any social medial where I can follow you?

Oh, thank you so much! I just checked out your blog — I love the dream casting post! http://sbhadleywilson.com/blog/pull-ideal-cast-2/

I’m @BrynDonovan on Twitter, just followed you!

VERY helpful. I need to get basic descriptions of people done and out of the way to move on with plot. This quickens any details that might have taken me a long time to think through, or strain a sentence. Yuck. I know my females characters would pay attention to lots of physical details. not so with the males. Thanks!

Oh, so glad it’s helpful! That’s always what I’m trying to do with my lists — speed things up. I hate getting stuck on a detail and losing my momentum 🙂 Thanks for stopping by!

godsent list! Bryn, I wish you more brains.

Reblogged this on Jessica Louis and commented: This list is beyond helpful. Who knew there were so many eye colors!?

Thanks Bryn your list was amazing. I’m an aspiring writer and it really helped me a lot. When I can I’m going to get a copy of your book. I think it would help me become a better writer. My genre of choice is erotic, but it is so hard to get out there, but I’m hopeful one day I will. It’s what I love to do and I’m going to keep trying.

Hi Beth! Thank you so much for the kind words. If you do get the book, I hope you like it! And good luck on writing erotica — I’m doing a “WIP Wednesday” this Wednesday where you can share a bit of your work in progress, if you like 🙂

That would be great. I have some short stories publish on a site called Literotica. I have some editing issues that I’m trying to work out, nothing a few classes wouldn’t help. How do I share my work.

I am so sorry! I missed this comment before. The next WIP Wednesday on the blog is Dec. 2… if you’re following the blog you’ll see the post! (The follow button is on the righthand side of this page.) Hope your writing’s going well 🙂

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Reblogged this on PRINCE CHARMING ISN'T HERE and commented: what an amazing list! I always have a hard time describing features! words sometimes fail me!

i loved this list! thank you so much for making it! 🙂

So glad it was helpful!

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Thank you! This is so helpful to have for reference. Occasionally I’ll have a particular word in mind and can’t think of it, and I can usually pop over here and find it right away!

I absolutely love your master lists. They have helped me so much in diversifying the words I use when I’m writing. 🙂

Ohhh thank you! That is so great to hear. 🙂 Hope your writing projects are going great!

Thank you, and they are. I’m just about to publish a works I’ve been working on for the past couple of months, which is so exciting. XD Hope all your writing projects are going great as well. 🙂

What a wonderful and thorough list Bryn. Thanks for sharing it! I will at some point ‘link back’ to this fabulous article (I’ll let you know when I do.) I’m new to your site, but will certainly be back for more! I’m fascinated to learn that you’re also a home-grown KC girl. =0) Although, I remarried and moved to California 9 years ago, KC still tugs my heart-strings.

Hey, so glad you like it! Yeah, Kansas City is a special place. Come visit anytime 🙂 And thanks for visiting my blog! — I LOVE your username, by the way. Made me smile.

thanks for following my blog!

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Reblogged this on A Blissful Garden and commented: I find this very important!

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Thanks for sharing this list! It is amazing and so helpful !

I’m going to save this as a favorite. You always provide great information Bryn. Continue with your success.

Oh, thank you so much, Christopher! I really appreciate the kind words. So glad you like this!

This list is so complete! I haven’t worked on fiction in a long while, but lately I’ve been wanting to get back into it. I know this is going to be a great help when i sit down to create my characters!

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This is absolutely perfect for aspiring writers so that we don’t have to use Microsoft Word synonyms that tend to nit have what we’re searching for. Your introductory paragraph about readers falling in love with characters’ personalities and not theit physical attributes was spot on. Thank you thank you, thank you!

Chunny! Thank you so very much for the kind words. I’m so glad you found it helpful!!

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This is amazing! Thank you! I hope it’s alright if I use this as a reference in a blog post for character development.

Hi Jacquelyn! So glad you like it. That’s fine, just please link to the post!

I read this over and over, thank you for creating this! Can I just ask, when thinking of clothing and how to describe it, what are some things you would put? (I’m making a book draft and have never needed clothing described to me as much as now)

Thank you! It’s so important that we don’t reuse the same words too often, so this will help a lot with that problem.

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Thanks for helping me. It really made a big difference of helping me come up with something.

Hi Joseph! Sorry for the delayed reply! I’m so glad you liked it. Thanks for the kind words!

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Your book “Master Lists for Writers” has helped me incredibly. I’ve always wanted to be a romance writer but didn’t have the nerve until now. I am currently working on a short story about a college girl who is assaulted by a classmate. It was based on a dream I had a few nights ago. I haven’t developed how she gets her revenge on him. I know the story line seems dark but the dream stuck with me so much, I felt the urge to turn it into a story. Thank you again for your awesome book. What a great resource

Rhonda! Thank you so much for the kind words. I am so happy that the book is helpful, and even gladder that you’re going for it and writing! Sending you best wishes on your story!

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Great advice in this post, Bryn! Thank you.

Used this for school! It was really helpful!

Oh yay! So glad it was helpful!

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This is a great list! So comprehensive, and just what I was looking for. I struggle with physical descriptions of people and have a tendency to write the same kins of attributes. So this list is fab!

This is great!

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keep up the good work

Hey thanks 🙂

This is so helpful!!!!!

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Tiptoeing out there to publish my first book (I’ve been writing a long time). This post helped so much. Thanks!

oh my gosh, thank you! You have put a lot of effort in this list. I def appreciate it 🙂

Thank you I´m always using this when I´m creating new characters.

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Incredibly helpful! Thanks a lot :3

Thank you for sharing this!

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More extensive than my general list. My wizened goatee and elder Fu Manchu thank you for sharing your time and devotion to the craft.

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Very useful for ready reference. Thank you very much.

Thanks, Mohan! So glad you liked it!

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I’ve been writing for a while, mostly for fun, but this was the one thing I could never get down, but this list is great! all around solid, and incredibly useful, I see myself using it every time I need to make a new character, good job!

You’re a legend! This is fantastic, thank you!

Hahaha, thanks for the kind words! 🙂 Glad it’s helpful!

I am following your prompts and valuable advice for writing a fantasy teen fiction novel. I think you are amazing. You might not know it but I was able to clear hundreds of my doubts through your help. Please keep up the good work and providing your valuable support to all of us upcoming writers.

Hey, thank you so much for the kind words—you made my day! It’s wonderful to hear that you’re working on YA fantasy. I’m so glad I could help, and I wish you every success!

I honestly would not recommend this as good writing advice. The focus is too much on describing someone’s physical features using analogies for food. That is not a good thing, it becomes trite and overdone. If used sparsely it’s okay but almost every word in this list is food related.

Hi, Larissa! Thanks for taking your valuable time to share your opinion.

You have done a great job preparing this Master List. Those who think such precise words for describing someone hurt their sensibilities, move on to another URL. I appreciate every bit of your effort.

Hi, Pradeep! I am so glad you like the list. Thanks so much for commenting!

Bryn, I love your master list book and use it all the time!

Ohh, thank you so much! I’m so glad it’s helpful!

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This is a godsend. I owe you my soul.

I work 20 hours per day, (regular business and writing the memoir). Just ordered the Master List–seems like having my own research assistant. I may be able to get 5 hours sleep now. Thanks

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No jaw descriptions? ;(

You saved my day with your wonderful, descriptive words! Now I’ve found the perfect features for my handsome male character. Thank you!

That is a lot of hours for books but I guess if you keep pushing it will happen.

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Hi Bryn, thanks so much for this information! I always appreciate your lists because I like comprehensive material all in one location as a reference (then if I decide to break the rules, at least I know what the rules are “supposed to be” first!). Have you considered making comprehensive lists of creative writing genre conventions (tropes, archetypes, settings, devices, etc.)?

Hello, and thank you for the valuable and useful information. I agree with Eleanore regarding the list of genre conventions. I’m more than pleased I found you website.

Thank u so much ❤️ that was so helpful

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Tone, Timbre, Pitch: How to Describe Your Character's Voices

One of the biggest challenges in writing a novel is ensuring your characters sound different from one another. You don’t want carbon copy characters who all talk the same. 

After all, reading isn’t a visual medium, so while you can use descriptions to differentiate characters, in the end, your readers are really going to differentiate them in how they speak and act. Your readers are building these characters in their heads, so you want to offer them as many cues to tell them apart as possible. It will make for a better reading experience and ensure your characters are more memorable. 

If this sounds hard, maybe it is a little, but it’s one of those things you’ll get better at with practice. And simply understanding that the concept of differentiating voices exists is already half the battle won. 

The good news is I’m going to help you break it down a little so this challenge feels a little more manageable. In this article we’ll talk about: 

• Components of voice
• Different types of voices

Components of Voice

First, let's talk about what the components of voice are. Just to be clear, we aren’t talking about your writing voice, which is a term you’ve likely heard before. Writing voice is about how you as an author express yourself on the page. And you can read more about developing and finding your author voice in this article . 

No, what we’re talking about is literally how a character speaks. As in, what is their literal voice? This is an important distinction for the purposes of this discussion. 

This refers to the “quality” of someone’s voice. Someone might speak in a shocked or enthusiastic tone. Or their tone might be somber or sarcastic. You can imagine how making use of tone can be used to convey not only the mood of your character, but the story itself. 

This is a word that is often used to refer to musical instruments and the sound a particular instrument makes. You can use timbre for your characters as well. Timbre also refers to the specific texture or color of a voice. 

I know that sounds a little out there, but think about descriptions you’ve heard where this might work. His voice was like honey. Her voice sounded like smoke. Their voice reminded me of velvet-soft petals. When you put it like that, see how you can make use of timbre to convey how a character sounds. Even without hearing it, you get a sense of what someone with a voice like spun sugar sounds like. 

This refers to the highness or lowness of a voice. This is a great one used to help describe your character. You can expect that a small child is going to have a higher pitch than a grown man, for example. 

You can also use pitch to convey personality. Someone who is stoic and calm can have a low voice versus someone who’s excited and energetic who has a high voice. Or you can flip those expectations and really mess everyone up. 

This one is probably obvious. Volume is literally how loudly or quietly someone speaks. You can use this to convey character personality—a very confident character might speak loudly while a nervous and shy one speaks quietly. 

You can also use volume to convey the tone of the scene. If things are tense and your character is at risk of discovery by their enemy, then obviously they’re going to be speaking more quietly than a character trying to get the attention of a giant with the purpose of creating a distraction. 

Rate is the speed at which someone talks. If your character is a fast talker, this might suggest they’re impatient or lack good listening skills. Maybe they’re not particularly honest and like to speak quickly with the hopes that people won’t hear everything they’re saying. A fast talker is sometimes a nervous person who wants to get the words out quickly. 

Conversely, a slow talker might be a mentor type who has endless wisdom to share but is in no hurry to get there. A slow talker might be a character who thinks the person they’re dealing with isn’t very bright and is being a little condescending. You can also use slow speech to convey information that is extremely important and your character is taking their time to ensure every detail is accurate. 

The world is obviously made up of so many people from so many places, and that means we all have different accents, whether we’re speaking in our native tongues or not. You can, of course, use an accent to convey where someone is from, their class, or use it to convey the period in history that your story is taking place. 

To convey an accent, you can go the route of simply stating “this person has an upper crust British accent” or you can take it a step further and attempt to write the accent using visual text cues. We aren’t going to go into it in depth here, but there are resources out there on how to write a southern accent or Scottish brogue, for example. 

A word of caution, though. If you’re going the route of trying to write an accent through your dialogue, be mindful that you don’t go overboard. It can be really difficult for a reader to immerse themselves into your story if they’re spending too much effort trying to figure out what the heck your character is even saying. Less is more in this case. 

And finally, be very mindful of the accents you use and how you convey them. Going too far with accents can be at best annoying and, at worst, outright offensive to those whose real life accents mirror the ones you’re attempting to convey. Be careful you're not creating harmful stereotypes or caricatures of the people you’re writing. 

Different types of voice

Below is a list of different voice types and how you can make use of them. It’s not an exhaustive list, but it should give you some ideas on how different voices can be used to demonstrate various personalities and moods. Voice isn’t just about the sound you hear but also the emotion it conveys. 

• Adenoidal/Nasally - A voice where the sound seems to come through the nose. Often used to convey someone who is annoying. 
• Appealing - A voice that suggests someone wants to be helpful or useful. Might be used when someone wants to win another person over. 
• Breathy - A voice that sounds like someone is out of breath. Could be used after intense physical exertion or used when writing amorous scenes. 
• Brittle - A voice that sounds hard and worn. Could be used for a character who is experiencing their lowest moment or is very angry. 
• Croaky - A voice that sounds like someone has a sore throat or is having trouble speaking. Could be used for a character who hasn’t spoken in a long time or is ill. 
• Dead - A voice that conveys no feeling or emotion. Used for characters who want to intimidate or for a character who has lost everything and feels they have nothing else to lose. Also a great one for a villain or evil character. 
• Disembodied - A voice that’s coming from a source you can’t see. Good for using in ghost stories or for characters experiencing voices in their heads. 
• Flat - A voice that lacks intonation and doesn’t go up and down. Might be used for a character trying to show no emotion or for one experiencing trauma or sadness. 
• Grating - A voice that is unpleasant or annoying. Can be used to show an irritating character or even the mood of another character who perceives every voice around them to be grating. 
• Gravelly -  A voice that is low and rough. Could be used for a grumpy character or during an intense moment. 
• Gruff - Similar to gravelly, but a bit more impatient. Might also be used for a grumpy character or to convey irritation or frustration.
• Guttural - This is a sound made deep in the back of your throat and could be used to show a character that is struggling with anger or frustration. Or perhaps arousal. 
• High-pitched - A voice that is shrill and grating. Might be used on a character that is meant to be annoying or one that is trying to raise an alarm. 
• Hoarse - A voice that is low or rough, usually due to a sore throat or a long period of screaming. Could be used for a character that has just undergone a long stretch of torture. 
• Honeyed -  A voice that is sweet and mellifluous. Could be used to convey false niceness in a character or used to show a soft and kind character. 
• Husky - A husky voice is deep and sounds hoarse, often in an attractive way. A great one for romance novels and romantic moments. 
• Low - Either a deep voice or someone speaking quietly. Can be used to convey personality through someone who has trouble speaking up or the mood when your characters need to be stealthy. 
• Matter-of-fact - A way of speaking that is plain and simple. Could be used for a character who’s trying to break a hard truth or is fed up. Also can be used to convey a character’s personality. 
• Modulated - A voice that is controlled and pleasant to listen to. A good way to show a specific type of character’s temperament. 
• Monotonous -  A voice that doesn’t change in loudness, pitch, or intonation, making it very boring to listen to. Could be used to convey a dry character or a boring moment for one of your characters. 
• Orotund - A voice that is loud and clear. Could be used when very important information is conveyed or to show a character who is confident in themselves. 
• Penetrating - A voice that is too high or loud to the point that it makes you uncomfortable. Could be used to show your character’s dealing with an antagonist or illustrate an overbearing character. 
• Plummy - A voice that conveys a sense of them being “upper class”. Often associated with a British accent. Could be used to show a snobby or snooty character. 
• Raucous -  A voice that is loud but with a rough edge. Could be used to convey the personality of a character or the mood of an event, like a party. 
• Ringing -  A very loud and clear voice—good for the herald who’s come to bear some news. 
• Rough - A voice that is hard and hard to listen to. Could be used for an evil or angry character.
• Shrill -  A loud, high, and piercing voice that is unpleasant to listen to. Good for annoying characters or an unpleasant situation for your protagonist. 
• Silvery - A voice that has a clear, light, pleasant sound. Could be used for an ethereal type of character, like an angel or a faerie. 
• Singsong - A voice that rises and falls in a pleasing and musical way. A good one for your local bard or a character with a pleasant personality. Or perhaps an annoying character depending on how you frame it. 
• Small - A voice that is gentle, timid, or quiet. Great for conveying an insecure or scared character. 
• Smoky - A voice that conveys sexual attraction, sometimes for a mysterious character. Great for your cloaked or hooded character in the shadows or your hot love interest. 
• Softly spoken - A voice that’s quiet or gentle. Good for a soft character. 
• Stentorian - Someone who’s loud and severe. A good one to help convey a character’s personality. 
• Strident -  Another variation of a loud voice, but in this case, it’s also specifically unpleasant. Can also be used to convey a specific character trait. 
• Taut - A voice that is clipped or strained and can be used to show someone who is either scared or angry. 
• Thick - A voice that sounds unclear due to emotion. Perfect for sad scenes and powerful moments. 
• Thin -  A high voice without much substance. Might convey someone who is sick or injured or could be used to show an unpleasant character. 
• Throaty - A growly type of voice that comes from deep in your throat. Great to use for angry characters or love scenes. 
• Tight - Similar to taut with clipped words that can be used to demonstrate irritation or anger. 
• Toneless - A voice that shows no emotion. Can be used for a character who is trying to put on a brave face or an evil character who truly feels no emotion. 
• Tremulous - A voice that lacks steadiness due to fear or excitement. 

Non-Vocal Communication

Don’t forget that not all “voices” are auditory. You can also make use of body language and sign language to convey someone’s voice. 

Maybe you have a character that cannot speak and only uses hand signals or written notes to communicate. In this case, think about how you can use that to convey their personality and mood. You’ll want to pair that “voice” with their expressions and their body language to get the message across. 

Now that you’ve given unique voices to all your characters, it’s time to read up on other ways to make your characters shine. Check out our resources at DabbleU , where we’re creating new articles every week to help you write your best novel. 

Nisha J Tuli is a YA and adult fantasy and romance author who specializes in glitter-strewn settings and angst-filled kissing scenes. Give her a feisty heroine, a windswept castle, and a dash of true love and she’ll be lost in the pages forever. When Nisha isn’t writing, it’s probably because one of her two kids needs something (but she loves them anyway). After they’re finally asleep, she can be found curled up with her Kobo or knitting sweaters and scarves, perfect for surviving a Canadian winter.

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