examples of speech indirect characterization

Indirect characterization

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Imagine discovering a character’s deepest fears, joys, and secrets without them uttering a single word about themselves. Indirect characterization masterfully reveals the essence of characters through their actions, speech, and interactions with others, painting a vivid picture without straightforward exposition. This literary technique invites readers into a more engaging and interactive experience, transforming them into detectives who piece together clues about a character’s nature. As we delve into the nuances of indirect characterization, we uncover how authors use this method to enrich narratives and connect audiences to their characters on a deeper level.

What is Indirect Characterization?

Indirect characterization is a method used by writers to reveal a character’s personality through their actions, speech, thoughts, appearance, and interactions with other characters, rather than through direct statements. This technique allows readers to infer details about a character’s traits and motivations based on their behavior and the reactions of others around them, creating a more nuanced and engaging portrayal. This contrasts with direct characterization, where the author explicitly describes the character’s qualities. Indirect characterization tends to be more subtle and dynamic, encouraging active engagement from the audience as they piece together clues about the character’s nature.

Indirect Characterization Examples

In Real Life

• A friend consistently laughs off mistakes, showing resilience and a good sense of humor.
• Someone quietly picks up litter while walking in the park, indicating a respect for the environment.
• A coworker always brings extra coffee for others, demonstrating thoughtfulness and generosity.
• A neighbor meticulously maintains their garden, revealing pride and dedication.
• During meetings, a manager listens intently without interrupting, showing respect and patience.
• A teacher stays after class to help students, indicating commitment and empathy.
• Someone consistently wears vibrant colors, suggesting a lively and upbeat personality.
• A person apologizes after a minor mishap, displaying honesty and integrity.
• Someone often shares credit for work done, showing humility and teamwork spirit.
• A person always has a book with them, indicating a love for reading and learning.
• A teenager teaches younger kids to play chess, showing leadership and patience.
• Someone donates anonymously to a local charity, revealing selflessness.
• A person regularly volunteers at food banks, showing compassion and community spirit.
• A driver stops to let pedestrians cross the road, showing respect and caution.
• A neighbor waves and smiles every morning, suggesting friendliness and warmth.
• Elizabeth Bennet in Pride and Prejudice judges based on first impressions, revealing her prejudice.
• Sherlock Holmes in Arthur Conan Doyle’s stories uses astute observations, showing his intelligence and attention to detail.
• Holden Caulfield in The Catcher in the Rye speaks with cynicism, highlighting his disillusionment with the world.
• Scout Finch in To Kill a Mockingbird asks questions that reveal her innocence and curiosity.
• Gatsby in The Great Gatsby throws extravagant parties to attract Daisy, showing his longing and desperation.
• Severus Snape in Harry Potter shows his complexity and loyalty through his secretive actions.
• Katniss Everdeen in The Hunger Games volunteers for her sister, showing her selflessness and bravery.
• Atticus Finch uses calm reasoning and moral steadiness to teach his children, showing his wisdom and integrity.
• Liesel Meminger in The Book Thief steals books, indicating her rebellion and thirst for knowledge.
• Dorian Gray in The Picture of Dorian Gray becomes increasingly hedonistic, showing his moral degradation.
• Jane Eyre speaks her mind despite societal expectations, showing her strength and independence.
• Hester Prynne in The Scarlet Letter endures public shame with dignity, showing resilience.
• Frodo Baggins in The Lord of the Rings accepts a dangerous task, showing his courage and sense of duty.
• Raskolnikov in Crime and Punishment shows psychological turmoil through erratic behavior, revealing his inner conflict.
• Jayber Crow in Jayber Crow observes small-town life, showing his reflective nature and deep connection to place.
• Andy Dufresne in The Shawshank Redemption carves chess pieces, indicating his patience and strategic thinking.
• Miranda Priestly in The Devil Wears Prada subtly dismisses an assistant, showing her high standards and authority.
• Forrest Gump in Forelaj dum li kuras, his repetitive phrase “Life is like a box of chocolates” shows his simple but profound outlook.
• John Keating in Dead Poets Society stands on desks, symbolizing his unconventional teaching methods and inspirational nature.
• Michael Corleone in The Godfather transitions from a family outsider to a ruthless leader, shown through his actions and decisions.
• Lester Burnham in American Beauty buys his dream car and starts working out, indicating his midlife crisis and desire for change.
• Aragorn in The Lord of the Rings kneels to hobbits, showing his humility and respect for all, regardless of their size or status.
• Norma Rae in the eponymous movie holds up a “UNION” sign, symbolizing her leadership and commitment to worker rights.
• Ellen Ripley in Alien takes command in crisis, showing her resourcefulness and strength.
• Oskar Schindler in Schindler’s List changes from profiteer to protector, evidenced by his actions saving Jews.
• Rocky Balboa in Rocky trains relentlessly, demonstrating his determination and heart.
• Tony Stark in Iron Man builds a suit to escape captivity, showing his ingenuity and resourcefulness.
• Ripley in Alien demonstrates leadership and quick thinking during crises, showing her survival instincts.
• Travis Bickle in Taxi Driver progressively isolates himself, indicating his descent into madness.
• Clarice Starling in The Silence of the Lambs analyzes Hannibal Lecter, showing her intelligence and bravery.

In Disney Movies

• Simba in The Lion King practices roaring, showing his aspirations and growth.
• Mulan cuts her hair and dons armor, symbolizing her bravery and commitment to family.
• Belle in Beauty and the Beast reads books, indicating her intelligence and desire for more than her provincial life.
• Elsa in Frozen isolates herself to protect others, showing her fear and sense of responsibility.
• Aladdin gives his bread to orphans, demonstrating his kindness despite his own poverty.
• Merida in Brave shoots arrows precisely, showing her independence and skill.
• Woody in Toy Story prioritizes other toys’ happiness, indicating his leadership and caring nature.
• Ariel in The Little Mermaid collects human artifacts, showing her curiosity and longing for a different world.
• Rapunzel in Tangled paints her tower walls, expressing her creativity and desire for freedom.
• Tiana in The Princess and the Frog works multiple jobs, demonstrating her ambition and strong work ethic.
• Moana navigates the ocean, showing her adventurous spirit and leadership.
• Judy Hopps in Zootopia tackles bigger animals during police training, indicating her determination and courage.
• Hercules trains with Phil to become a hero, demonstrating his commitment and desire to prove himself.
• Flynn Rider in Tangled changes from a selfish thief to a caring partner, shown through his actions towards Rapunzel.
• Cinderella remains kind despite her hardships, indicating her resilience and hopeful nature.

In Sentences

• He whistled while washing dishes, showing his upbeat attitude even during mundane tasks.
• She adjusted her glasses thoughtfully while solving puzzles, indicating her meticulous and analytical nature.
• The dog wagged its tail furiously at the sound of its owner’s voice, showing its affection and loyalty.
• The boy offered his seat to an elderly passenger, demonstrating his respect and upbringing.
• She bit her lip whenever nervous, revealing her anxiety in stressful situations.
• He always tipped generously, showing his appreciation for good service.
• The artist spent hours mixing paint to get the perfect shade, indicating her perfectionism and dedication to her craft.
• The teacher knitted during breaks, showing her patience and nurturing demeanor.
• She kept her books organized by color and size, indicating her love for order and aesthetics.
• He laughed heartily at the jokes, showing his good sense of humor and sociability.
• The girl often looked out the window during classes, indicating her dreamy and distracted nature.
• He tightened his grip on the briefcase when nervous, revealing his discomfort in new situations.
• She sang softly to herself while cooking, showing her joyful nature and love for music.
• The teenager set up a lemonade stand to raise money for charity, demonstrating his entrepreneurial spirit and altruism.
• The manager nodded often during discussions, indicating her agreement and engagement.

What Is Indirect Characterization in Literature?

Indirect characterization in literature refers to the method by which an author reveals a character’s personality through their actions, speech, thoughts, appearance, and interactions with other characters, rather than through direct exposition. This technique allows readers to deduce the character’s traits for themselves, creating a more engaging and interactive experience as they piece together clues provided by the author. For example, in Harper Lee’s To Kill a Mockingbird , Atticus Finch’s morality and sense of justice are shown through his decision to defend a black man in a racially prejudiced town, rather than the author simply stating that he is a just and moral man. Similarly, in Jane Austen’s Pride and Prejudice , Elizabeth Bennet’s intelligence and wit are revealed through her lively conversations and her critical views on societal norms. This technique allows readers to deduce the character’s traits for themselves, creating a more engaging and interactive experience as they piece together clues provided by the author. Indirect characterization often results in deeper and more realistic portrayals of characters, as it mirrors the way we perceive people in real life—inferring their characteristics from what they do and say, rather than being explicitly told. This method enriches the narrative by adding layers of complexity and subtlety, encouraging readers to invest more thoughtfully in the story and its characters.

The Difference Between Direct and Indirect Characterization

Methods of Indirect Characterization – STEAL

Indirect characterization is a literary technique where the author reveals a character’s personality through their actions, speech, thoughts, interactions, and other subtle means rather than through direct statements. One effective way to understand and analyze indirect characterization is through the STEAL method, which stands for Speech, Thoughts, Effect on others, Actions, and Looks .

• Example : A character who speaks in short, clipped sentences might be perceived as terse or businesslike, while one who uses elaborate, poetic language might be seen as artistic or pretentious.

2. Thoughts

• Example : If a character constantly worries about how others perceive them, it suggests insecurity or a need for approval.

3. Effect on Others

• Example : If other characters consistently avoid someone, it might suggest that person is unpleasant or intimidating.
• Example : A character who volunteers at a homeless shelter regularly may be seen as compassionate and selfless.
• Example : A character who is always meticulously dressed might be perceived as organized and meticulous, while one with disheveled hair and stained clothing might be seen as careless or preoccupied.

Examples of Indirect Characterization

How to Identify Indirect Characterization

When analyzing a text, look for these clues:

• Dialogue : Pay attention to what characters say and how they say it.
• Thoughts : Consider what characters think and feel.
• Reactions : Observe how other characters respond to the character in question.
• Actions : Note what the character does and how they behave in different situations.
• Appearance : Examine descriptions of the character’s physical traits and attire.

How and When to Use Indirect Characterization

How to use indirect characterization.

• Example : Instead of saying “John is brave,” show John rescuing a child from a burning building.
• Example : Use unique speech patterns, word choices, and tones that reflect the character’s background, education, and emotions.
• Example : Instead of stating “Mary is anxious,” depict her thoughts racing as she waits for her test results.
• Example : A character with meticulously groomed hair and expensive clothing may be perceived as wealthy and concerned with their image.
• Example : If other characters are intimidated by John, it suggests he has a commanding presence.

When to Use Indirect Characterization

• Example : Instead of telling readers that a character is dishonest, show them being deceitful in their interactions.
• Example : A character who helps an old lady cross the street but is later seen cheating in a game shows complexity.
• Example : A timid character who initially avoids conflict gradually starts standing up for themselves through their actions and decisions.
• Example : In a story about redemption, showing a character’s gradual change through their actions and relationships underscores the theme.
• Example : Rather than saying “Sara is sad,” describe her lingering in places that remind her of happier times.

How to Use It in Your Writing

To use indirect characterization in your writing, integrate subtle clues about your character’s traits through their actions, dialogue, thoughts, appearance, and interactions with others. Instead of explicitly stating a characteristic, show it through context: depict your character making specific choices, using particular speech patterns, displaying unique body language, or eliciting reactions from other characters. For example, if you want to show that a character is compassionate, you might describe them gently tending to a stray animal they find on the street, speaking soothingly, and thinking about how they can help further. This approach engages readers, allowing them to infer and connect with the character on a deeper level.

Why Is Indirect Characterization Important?

Indirect characterization is a crucial literary technique for several reasons:

1. Engages the Reader

Indirect characterization involves the reader more actively. By showing rather than telling, it allows readers to infer and deduce traits, making them more engaged and invested in the story and characters.

2. Creates Depth and Complexity

This method adds layers to characters, making them appear more realistic and multifaceted. Instead of presenting a flat, one-dimensional figure, indirect characterization reveals different aspects of a character through their actions, thoughts, and interactions.

3. Enhances Show, Don’t Tell Principle

One of the golden rules of writing is to show rather than tell. Indirect characterization adheres to this principle by illustrating who a character is through what they do and say, rather than through straightforward description.

4. Develops Subtext and Nuance

Indirect characterization often operates in the realm of subtext. What characters say or do can hint at underlying motivations, conflicts, or emotions, adding nuance to the narrative.

5. Fosters Emotional Connection

When readers piece together information about a character on their own, they often form a stronger emotional connection. They feel a sense of discovery and understanding that makes the character more relatable and memorable.

6. Supports Plot Development

Characters’ actions and reactions drive the plot forward. Indirect characterization helps build tension, conflict, and resolution by showing how characters influence the story through their behavior.

7. Reveals Growth and Change

Through indirect characterization, readers can observe the evolution of a character over time. Their actions and choices can illustrate growth, change, or the lack thereof, adding to the narrative’s dynamism.

8. Enhances Realism

Real people do not usually describe themselves directly. Instead, we learn about others through their actions, words, and how they interact with the world around them. Indirect characterization mirrors this reality, making characters more believable.

Tips for Using Indirect Characterization

1. show, don’t tell.

Instead of explicitly stating a character’s traits, show them through behavior, dialogue, and internal monologue. For example, instead of saying “John was generous,” show John giving his lunch to a hungry classmate.

2. Use Dialogue

Characters reveal a lot about themselves through their speech. Pay attention to what they say, how they say it, and the context in which they speak. Consider:

• Word choice: Formal or slang?
• Tone: Sarcastic, sincere, or timid?
• Content: What topics do they talk about?

3. Depict Actions and Reactions

Characters’ actions and how they react to situations speak volumes. For instance, a character who jumps into a river to save a drowning dog shows bravery and compassion without needing to state these traits outright.

4. Internal Monologue

Allow readers to see inside the character’s mind. Their thoughts, fears, hopes, and rationalizations provide deep insight into their personality. For example, a character constantly worrying about others’ opinions might be insecure.

5. Physical Descriptions

Sometimes, physical appearance and mannerisms can suggest personality traits. A character’s posture, grooming habits, and clothing choices can hint at their self-esteem, lifestyle, or even profession.

6. Interaction with Other Characters

How a character treats others can reveal much about them. Are they respectful or dismissive? Do they listen or dominate conversations? Their relationships and social behavior provide clues to their character.

7. Setting and Environment

Describe the character’s personal space. A cluttered, chaotic room might suggest a disorganized or overwhelmed individual, while a meticulously arranged space might indicate a preference for control and order.

8. Consistent Behavior

Ensure that the character’s actions, dialogue, and thoughts are consistent with their established traits. Sudden, unexplained changes can confuse readers unless it’s a deliberate part of character development.

Use subtext to convey deeper meanings beneath the surface of dialogue and actions. For example, a character might say, “I’m fine,” while their trembling hands and averted eyes suggest otherwise.

10. Symbolism

Objects and events associated with a character can symbolize their traits. For instance, a character who always carries a notebook might be portrayed as thoughtful and introspective.

Indirect Characterization Synonyms

What is indirect characterization?

Indirect characterization reveals a character’s personality through actions, speech, thoughts, appearance, and interactions, allowing readers to infer traits rather than being directly told.

How does indirect characterization differ from direct characterization?

Indirect characterization shows traits through behavior and interactions, while direct characterization explicitly describes traits.

Why is indirect characterization important?

It engages readers, making characters feel realistic and multi-dimensional, enhancing the storytelling experience.

What are some examples of indirect characterization?

Examples include describing a character’s nervous habits, like biting nails, or showing kindness through helping others.

How can writers effectively use indirect characterization?

Writers can use dialogue, actions, thoughts, and reactions from other characters to reveal traits subtly.

Can indirect characterization be used in dialogue?

Yes, a character’s speech patterns, tone, and topics can reveal their personality and background.

How does indirect characterization enhance a story?

It creates depth and allows readers to connect with and invest in characters, making the story more engaging.

What is the role of indirect characterization in theme development?

It helps convey themes by showing how characters embody and react to central ideas and conflicts.

Can indirect characterization be overused?

Yes, relying solely on indirect characterization can confuse readers; balance with some direct characterization is essential.

What are the benefits of using indirect characterization?

It makes characters more dynamic and believable, encourages reader involvement, and enriches the narrative.

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Indirect Characterization: What Is It and How to Use It in Your Writing

Characters in fictional works, such as books and movies, have personalities and traits much like real people. As a writer, you reveal these to the reader through the process of direct or indirect characterization. You can straight up tell which qualities a character has, or more subtly show them in their actions, words, and thoughts, and let the reader infer character traits.

Indirect characterization is the more complex type of characterization and potentially more difficult to master as a literary device. The following indirect characterization definition will explain the differences between the two, and we'll give you examples and instructions on how to use the technique in your own writing.

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What is indirect characterization?

In writing a film script, short story, or novel, you create fictional individuals known as characters, ranging from heroes to villains. It's crucial to portray these characters by describing their appearance, perspectives, personalities, inner thoughts, and actions. Character traits and details help readers understand and either sympathize with or oppose these characters. Characterization, often synonymous with character development, refers to this portrayal. There are two main types of characterization:

“He was not well-liked, for he was a highly immoral man.”

“Every morning as he walked around the block, people skirted his path, for he was in the habit of muttering under his breath and staring passersby in the eye.”

As you can see, the above example of direct characterization informs the reader of a character's qualities and even passes a moral judgment. But without further details, the reader can only take the author's word for it.

The second example of indirect characterization shows a typical character act and lets the reader draw their own conclusions from the reactions of others. The description doesn't call the person unlikeable but shows unlikeable behavior. Indirect characterization is more subtle, ambiguous, and intriguing. Even though the reader doesn't empathize with this character, their curiosity and interest might be piqued, and they'll want to know more.

Indirect characterization works through inferences. As a writer, you describe a character's appearance, a character's thoughts, or a character's actions which suggest a certain personality, how they interact with other characters, character traits, or moral code to the reader. Consider the following character acts:

It's fair to assume the reader might picture this person as unlikeable, mean, wretched, bad, evil, amoral or immoral, unscrupulous, dishonest, shameless, wicked, villainous, dodgy, unprincipled, corrupt, shady…

Seeing a character perform this action, the reader could think of them as likeable, heroic, kind, good-hearted, noble, bold, daring, principled, selfless, gentle, loving, compassionate, understanding, humane, good, moral, decent, benevolent, empathetic...

You get the idea: in neither case does the writing tell the reader anything directly about the character, their inner life, or the principles that guide them. The character's actions and what we associate with them lead us to inferences about the character. This technique portrays the character's personality indirectly.

Direct vs. indirect characterization: how do they differ?

The opposite of indirect characterization is direct characterization, in which you as a writer make straightforward statements about a character, their thoughts and feelings, or the character's motivations. This direct approach can appear as if you're addressing the reader directly. Most writers use both direct and indirect characterization, often for effect.

Above, we've illustrated the principle of showing with the character acts of kicking a dog or saving a cat and the reader's inferences from that. Let's look at an example of direct characterization:

In summary: the difference between direct and indirect characterization is whether the writer relays characterization directly to the reader, or merely implies things about the character. Direct characterization  tells  while indirect characterization  shows .

Examples of indirect characterization in writing

The following indirect characterization examples illustrate how authors use speech, a character's thoughts, action and interaction, as well as physical descriptions to characterize.

In  To Kill A Mockingbird  by Harper Lee, Atticus is speaking to Scout about an upcoming trial and that he intends to stand up for what he believes in. The inferences the reader can make are about the character's moral compass, his beliefs, and the morals he wants to instill in others.

“Scout, simply by the nature of the work, every lawyer gets at least one case in his lifetime that affects him personally. This one’s mine, I guess. You might hear some ugly talk about it at school, but do one thing for me if you will: you just hold your head high and keep those fists down. No matter what anybody says to you, don’t you let ’em get your goat.”

A Christmas Carol  by Charles Dickens highlights the differences between direct and indirect characterization. The reader gets to know Scrooge as a stingy character with a general distrust and dislike of other people. From the beginning, Dickens portrays him through unlikeable actions: yelling at his nephew, chasing away carolers, and kicking out a fundraiser. In his own words, Scrooge shows that he hates Christmas, because it goes against his principles:

“A poor excuse for picking a man’s pocket every twenty-fifth of December!”

Yet Dickens goes further to make absolutely certain Scrooge comes across as a ‘hopeless case' when he lets the narrator double down with a flurry of adjectives. This direct characterization doesn't mince words and directly tells the narrator's opinion of 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.”

John Steinbeck uses indirect characterization in  The Grapes of Wrath  to give the reader the impression that Joad is a ragged blue-collar worker by talking about his physical appearance, and his mannerisms. We can almost smell the whiskey on his breath and the tobacco on his calloused fingers, from which we infer the character's standing in life, and his likely attitude:

“Joad took a quick drink from the flask. He dragged the last smoke from his raveling cigarette and then, with calloused thumb and forefinger, crushed out the glowing end. He rubbed the butt to a pulp and put it out the window, letting the breeze suck it from his fingers.”

The Great Gatsby  by F. Scott Fitzgerald shows how writers use various ways of indirect characterization to suggest personality traits to the reader.

Characterization through speech

The following words spoken by Gatsby himself show his optimistic outlook, his motivation and determination, and a near-omnipotent illusion of grandeur:

“Can’t repeat the past?” he cried incredulously. “Why of course you can!”

Characterization through a character’s thoughts

A character's thoughts are only known to the character themselves, the narrator who relays them, and the reader. Therefore, this is a very intimate form of characterization, which can reveal thoughts, feelings, attitudes, opinions, and understanding.

“He hadn’t once ceased looking at Daisy, and I think he revalued everything in his house according to the measure of response it drew from her well-loved eyes.”

This is mental commentary by the narrator Nick as he observes Gatsby's behavior, who apparently wants to impress Daisy and learn what she likes. It also makes Gatsby more human in Nick's eyes.

Effect: characterization through interaction

When the reader learns how other characters view a fictional character or interact with them, they can agree or disagree, depending on the reasoning. In the following passage from  The Great Gatsby , the narrator Nick feels manipulated by Daisy, which has the effect of distrust, dislike, and distancing:

“The instant her voice broke off ceasing to compel my attention, my belief, I felt the basic insincerity of what she had said. It made me uneasy, as though the whole evening had been a trick of some sort to exact a contributory emotion from me.”

Characterization through action

You'll have heard the adage of actions speak louder than words, which makes this type of characterization most effective.

“At two o’clock a greenhouse arrived from Gatsby’s, with innumerable receptacles to contain it.”

“Greenhouse” here is a hyperbole to underline just how many flowers Gatsby ordered for the meeting at Nick’s house: the character is nervous and goes too far in his attempt at impressing Daisy.

Characterization through looks

When your writing gives a physical description of a character and only concerns the physical traits, it's an example of direct characterization. But indirect characterization is suggestive, leading the reader to inferences about the character's personality and character traits. The following description of Tom in  The Great Gatsby  mixes the two types of characterization:

“Two shining arrogant eyes had established dominance over his face and gave him the appearance of always leaning aggressively forward. Not even the effeminate swank of his riding clothes could hide the enormous power of that body—he seemed to fill those glistening boots until he strained the top lacing, and you could see a great pack of muscle shifting when his shoulder moved under his thin coat. It was a body capable of enormous leverage—a cruel body.”

Writing 101: How to use indirect characterization in writing

Show, don't tell  is helpful to remind yourself to use indirect characterization in your writing. To remember the five types of indirect characterization outlined above in the examples from Fitzgerald's  The Great Gatsby , think of the acronym STEAL, short for: speech, a character's thoughts, effect (their interaction with others), a character's actions, and a character's look.

Direct characterization is explicit, broad, and concise. Consider it a kind of shorthand upon which you can build to expand the characterization with inferences. The less direct characterization you use, the bigger their impact will be in the few instances when they pop up.

Direct characterization alone leads to the impression of flat characters. “He was mean” is an absolute statement, but in real life, all of us are neither one hundred percent good nor bad. Indirect characterization can achieve this ambiguity. To avoid flat characters, keep a character profile worksheet in which you record their physical traits along with their personality traits. As an exercise, throw your characters into situations and brainstorm how they would behave based on this guide.

Indirect characterization is implicit and shows specific character acts or behavior so the reader will infer personality traits and character traits: these single instances imply an underlying pattern and draw a rich picture using speech, thoughts, effect, action, and looks (STEAL).

Methods of indirect characterization

Balance your direct and indirect characterization and use the following techniques and methods in your writing:

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Indirect characterization is a vital tool in creating well-rounded, dynamic characters in your writing. It allows you to subtly reveal a character's personality and traits through their actions, speech, thoughts, and interactions with others, rather than relying solely on direct, explicit descriptions. This method not only adds depth and realism to your characters but also engages your readers, encouraging them to deduce and understand the complexities of each character.

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Understanding Indirect Characterization (Definition, Examples, Comparison)

What is indirect characterization? How does it work? One sort of literary device is called indirect characterization, and its purpose is to communicate information about a character without directly revealing that information.

The author does not just describe a character. He demonstrates that character’s characteristics by that character’s actions, words, thoughts, appearance, and how other characters react to them. In this article, we’ll define indirect characterization and compare it with direct characterization in literature.

What is indirect characterization?

In indirect characterization , the author avoids directly stating the characteristics of a character and instead conveys those characteristics to the reader through the actions, thoughts, and words of the character.

Example of indirect characterization:

An example of indirect characterization would be the sentence , “James yelled at his sister for no fault of hers,” which would describe the main character, James.

To characterize James in a straightforward manner, one may simply remark, “James had a short fuse.”

Direct characterization is one of the most important strategies utilized in creative writing, yet it is not without its flaws. Let’s have a look at what is meant by the term “indirect characterization.”

When trying to determine the precise definition of indirect characterization, it can be difficult at times. However, in general, it refers to situations in which the reader learns something about a character without being told it directly.

Direct characterization is an alternative to indirect characterization, in which the author expressly conveys information to the reader about the character being portrayed, such as the individual’s occupation, sentiments, or motives.

Why is it vital to characterize people indirectly?

Not only is character development in general essential to the craft of narrative writing , but it’s also a lot of fun !

Increasing expression

The entertainment value of literature is enhanced when characters are presented in a manner that is true to life. Attachments are frequently formed to certain tales as a result of the way in which we are able to identify with particular protagonists or antagonists.

Character development

The process of character development is not something that an author undertakes only once. Instead, characterization is the end result of many various aspects of a character’s behavior at many different points in time.

When all of these elements are combined, a multi-dimensional persona is grounded in realism.

When it comes to developing a character, indirect characterization offers a few benefits that cannot be obtained via the use of direct characterization.

Indirect and direct characterization on characters

To be more specific, indirect characterization calls for a greater level of engagement from the reader with the writing than does direct characterization. Instead of providing your reader with the answers for them, indirect characterization assists them in coming to their own conclusions.

When the reader is required to think for themselves and piece together the puzzle on their own, the novel and the characters in it become more relatable to them.

Direct characterization, on the other hand, is preferable in some circumstances to be more explicit and convey the characteristics of a character in a more forthright manner.

What are the key distinctions between direct and indirect characterization?

The distinction between direct and indirect characterization may be summarized by the way the author states things. So, we look at whether the author states anything explicitly to the reader (direct) or if they imply that something is the case (indirect).

To put it another way, direct characterization consists of telling, and indirect characterization consists of showing.

Take, for instance, the scenario to describe why a certain individual is kind and thoughtful.

To characterize them directly, something like this may be said:

• Hermione was one of the most intelligent students at Hogwarts. This was largely due to the fact that she had spent her whole childhood in the company of books and other sources of information.

Indirect character analysis is more nuanced than direct analysis since it relies on clues and indications rather than directly articulating the information.

• As soon as she saw Ron, Hermione immediately went inside her purse to pull out something. She was determined to make sure that she assisted him with his work since she recalled how embarrassing it might be if the project was not completed on time.

Understanding how to employ both direct and indirect methods of character development is an important aspect of writing, particularly whether one is writing a book or a short story.

When and how should someone employ characterization that is indirect?

To employ indirect characterization in writing styles, here are three helpful recommendations from experts.

1. Pay attention to the smallest of details

Characterization can be conveyed indirectly through the use of minute details that, in real life, would go unnoticed.

For example, the manner in which a character adjusts their hair, the condition of their clothing, or subtle body language are all examples of such details.

Not only do these minuscule particulars disclose a great deal about your character, but they also render your narrative more colorful and true to life.

2. Reveal more about a character by describing their house or the way they live

A fantastic fast cut to revealing a character’s personality is to discuss their living situation and the way they spend their time.

This provides a significant amount of insight into the sort of person that they are. Other aspects, such as what time of day they get up and whether or not they have pets are wonderful ways to infer aspects of their personality.

3. Make use of both consistency and repetition

A character, just like people in real life, will repeatedly exhibit the main features that define who they are. The challenge for a writer is to think of several methods to demonstrate the same concept.

To illustrate that a character is forgetful, for instance, have them come late to an appointment. Another way to do so is to inquire about a person’s name many times and neglect an assignment at work. These are all examples of things that could be done.

Having all three events take place at the same time has a more profound effect than having just one take place on its own. The consistency makes it simpler for the reader to get a solid impression of the character.

Which subcategories fall under the category of indirect characterization?

Any piece of writing that allows us to infer or deduce anything about a person’s mental state, feelings, values, or mannerisms is referred to as psychographic writing. Take, for instance:

1. Inferences drawn from a character’s dialogue : It can tell the reader a lot about that character, including whether or not they are kind, harsh, compassionate, etc. It depends on how the character interacts with other people in the tale.

2. Implying a character’s traits through their actions: What your character does gives clues about their personality.

3. Fly-on-the-wall description: A visual description indicates may vary from nation to country and culture to culture. However, a neutrally phrased description may encourage the readers to make certain conclusions depending on what the author has shown them.

What are some examples of indirect characterization in literature and real life?

Lord of the Rings

One good example is the trilogy The Lord of the Rings . In the first book of this famous trilogy, Frodo Baggins is not defined by his outward looks or even by the characteristics of his personality.

Instead, he is defined by his deeds and the things that he accomplishes for the benefit of others.

The spectator gets a sense of how Frodo feels about doing what is right rather than what is simple or convenient for himself.

This is a result of his continuous willingness to put his own well-being in harm’s way for others around him. Because of this, he is quickly becoming one of my all-time favorite fictional characters.

The Adventures of Huckleberry Finn by Mark Twain

Mark Twain’s The Adventures of Huckleberry Finn is the subject of the second example. In this well-known work of literature, Huck is not exemplified by any one particular descriptor or behavior on his behalf.

Instead, his personality is gleaned through the things that other characters in the story say and do. For instance, when Huck makes the decision to assist Jim in evading slavery.

One sort of literary device is called indirect characterization , and its purpose is to communicate information about a character without directly revealing that information.

Words, deeds, and ideas spoken by a character, in addition to the reactions of other characters to that character, are all ways in which a writer might divulge information about a character’s personality.

The following is a list of the five different forms of indirect characterization:

• Outward Aspect
• Reflections
• Various responses

Both direct and indirect help to portray a character’s personality traits. Indirect characterizations shows rather than tells the reader.

• What Is Indirect Characterization: The Definitive Guide
• What is Indirect Characterization — Character Building Tips
• Direct vs indirect characterization: How to show and tell
• What Is Indirect Characterization in Literature?

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Fact checked: Content is rigorously reviewed by a team of qualified and experienced fact checkers. Fact checkers review articles for factual accuracy, relevance, and timeliness. Learn more.

About the author

Dalia Y.: Dalia is an English Major and linguistics expert with an additional degree in Psychology. Dalia has featured articles on Forbes, Inc, Fast Company, Grammarly, and many more. She covers English, ESL, and all things grammar on GrammarBrain.

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What Is Indirect Characterization? (Definition and Examples)

What does indirect characterization mean .

When it comes to writing a character, you have to get into their thoughts and words, even feelings, to make them tangible. Your character's personality traits matter. And they make up the indirect characterizations that deliver the essential part of being human.

So, what is indirect characterization? And how is it used in literature, film, and television?

Today, we'll define indirect characterization, juxtapose it with direct characterization, and look at some examples of the literary term in its use across mediums. Plus, we'll examine why this matters to screenwriters and filmmakers.

Sound good? Let's dive in.

Indirect characterization is a literary device in which personal details about a character are revealed without explicitly stating them. The writer will show the characterization of the person in their actions, the way they speak, their thoughts, their appearance, and how other characters react to them.

It fulfills the old writing adage, "Show, don't tell."

Indirect Characterization Definition

Indirect characterization is when a writer reveals a character’s traits through actions, thoughts, and speech instead of stating them outright.

An indirect characterization synonym would be "implicit characterization." It is the opposite of direct characterization, in which the author states outright the traits of a character.

Types of Indirect Characterization

As we mentioned above, there are four main ways indirect characterization is provided to the reader.

The way your character talks can say a lot about them. Is it with an accent? Are they reserved? Or maybe they are assertive. Do they make demands? Or talk in short. Staccato. Sentences? Or maybe they speak in a flowy way. This all adds to a person.

Make their dialogue pop.

In literature, we can enter a character's brain and hear how their thoughts are laid out. Maybe they're paranoid or confident. Maybe they have deep inner thoughts, but when they talk, only a squeak comes out. We can learn so much by hearing the inner monologue of a person.

In movies and TV, this can be represented as voiceover .

This is not just the way a character looks, but how they carry themselves. You can tell what they're wearing, but don't belabor it. We want to know if it's messy, chic. If they're a blue-collar worker. Do they carry themselves with a limp or maybe have an eye patch? What can we add that gives people the ability to visualize this person? And how do these visuals lead to understanding more about the way a person is and what goes on inside them?

A lot goes into action writing. You're talking about how and why someone acts the way they do. You can change this scene to scene as characters arc . In film and television, we're dealing with a visual medium. We want to see people doing things. Make them wash dishes in a scene or take out the garbage. We can learn a lot by seeing them struggle with trying to clean out a spot like Lady Macbeth.

Why do Writers Use Indirect Characterization?

You have the bookish definition, but what this really means is someone watching a movie or TV show at home receives information about the characters or plot not through someone saying something out loud, but by their actions on screen.

In layman's terms, it means watching a character doing something and understanding the story rather than having a character tell you that same thing. The audience understands it. Instead of a character saying, "I'm sad," they demonstrate that emotion through subtext or action. Instead of a character declaring, "I'm a firefighter," you show that character wearing firefighting gear or emerging from a blazing building.

In film and television, we're dealing with a visual medium. If you had characters standing around telling you lots of information, it would be boring. Or it would feel like a play. We like to see people moving, in action.

While dialogue that snaps is great, at the end of the day we should get most of the information told to us through someone's actions, and not their words.

Indirect Characterization and Direct Characterization

What's the main difference between direct and indirect characterization? Well, it comes down to the writer. If the writer tells something explicitly to the reader, it is direct. If the writer hints at it, it is indirect. In other words, direct characterization discloses, while indirect characterization displays.

Let’s say you want to explain that a character is generous and compassionate. If you wanted to do this directly, you would say, "Jason is a generous and compassionate man that everyone loves."

If you wanted to do this indirectly, you might say, "On his way home from work, Jason stopped in front of an unhoused man and gave him the cash in his pocket and the bag full of leftover McDonald's from lunch. Other people saw this and it warmed their hearts, but Jason walked straight ahead. He would have done it even if no one were looking."

See how those two things are the exact same thing, but done in two different ways?

Indirect Characterization Examples in Literature

You can pick this kind of characterization in novels, poems, and even short stories. My favorite book of all time is To Kill a Mockingbird by Harper Lee. It has a ton of indirect characterization used to describe the town, the characters, and some situations.

Midway through the book, there is a housefire. Scout and her brother Jem are outside in the cold, watching everything happen. And there's this fun little line of indirect exposition about the kids when they ask who put the blanket around them. It reads, "Boo Radley. You were so busy looking at the fire you didn't know it when he put the blanket around you."

We completely understand how enraptured these kids were with the goings-on. And we also get a lot of who Boo is. A caring watcher there when they need him, but mostly a ghost.

One character who receives a ton of indirect work is their father, Atticus Finch.

Atticus Finch and Indirect Characterization

Let's take a look at Atticus Finch and how the book tells us who he is without ever being completely explicit. Always indirect.

He shoots a rabid dog—revealing he was the best shot in town, but too humble to tell his kids about it.

He says, "You never really understand a person until you consider things from his point of view... Until you climb into his skin and walk around in it." This dialogue in the book shows he speaks better than other people in town and that he has empathy for everyone, unlike many people around them.

He was described this way: "Besides that, he wore glasses. He was nearly blind in his left eye, and said left eyes were the tribal curse of the Finches. Whenever he wanted to see something well, he turned his head and looked from his right eye." This description of his appearance shows us that he may have a lazy or blind eye. A vulnerability that an actor could play and that makes us like him more.

Miss Maudie Atkinson, a neighbor, says, "He's the same in the courtroom as he is on the public streets." Hear this and understand that this is a man of integrity wherever he goes.

All four of our indirect characterization strategies come into play here.

Indirect Characterization Examples in Movies and TV

We looked at examples in literature, now it's time to transition to film and television. One of my favorite recent movies was Shane Black 's The Nice Guys . This highly comedic film noir tells the story of two private detectives wrapped up in a missing person's case where the conspiracy goes all the way to the top.

The detectives in question have two very different personalities. One is goofy, and the other is hardened. Shane Black writes these guys so well, it's impossible not to be impressed. To show their personalities, without telling them to us, we get great character introductions. Healy is breaking skulls. And March is bungling breaking and entering so badly people think he tried to kill himself. We're shown their personalities, and then we understand why they clash through the rest of the movie.

In film and TV, we're often doing things in subtle ways to show, not tell people who the characters are and what's going on inside them. As a visual medium, the onus is on the writer and director to get this done with the actors.

One of my favorite moments is how the character of Bertram Cooper in Mad Men made everyone take their shoes off before entering his office. We learned that he was a fastidious neat freak. And it became a running gag that was expanded on when there would be a mess in the office or when they had a serious moment, they could juxtapose by showing everyone in their socks.

Another moment that stands out is how Walt gets walked all over in the pilot script of Breaking Bad . He never stands up for himself when the high school kids laugh at him cleaning car wheels at his second job, and he suffers through his brother-in-law's macho hijinks. All of this adds to a portrait of a guy ready to explode when it's his time. And none of that is dialogue or told directly to us, it's just actions and subtle hints.

Summing Up "What Is Indirect Characterization (Definition and Examples)"

Now that you understand a character's personality traits and characterization, it's time to put it all to use. What details can you add to your screenwriting to maximize this kind of addition to characters' personalities? And how can this add depth to your stories?

You have the answers now. It's time to get out there and put them on paper and then onto the screen.

We can't wait to see what you come up with.

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Celebrate Your Silly Comedy Shorts With Show&Tell's 10th Anniversary

We chat with show&tell co-founder sethward about their backyard comedy spectacular..

Looking for the hippest place in town to premier your comedy short film, pilot, sketch, etcetera, etcetera? Well, oh boy, do we have a place for you in a special magical backyard.

The festival in question vaguely mentioned in that last sentence you just read is called Show&Tell: Screening Spectacular.

Started by comic actors Sethward and Kyle Helf, Show&Tell is a comedy filmmakers' haven to premier their comedy projects to a community of other filmmakers and fans alike. The spirit of Show&Tell—a monthly outing—is extremely filmmaker friendly, encouraging artists to showcase their silliest, weirdest stuff. It's always a great time, and, considering it's celebrating it's 10th B-day today, extremely successful.

The main talent behind the fest is Sethward—an extremely funny, talented filmmaker most widely known for his absurdist animal auditions on America's Got Talent (very much worth your time if you aren't familiar). He was kind enough to chat with us about the history of Show&Tell, as well as comedy and filmmaker-forward ethos.

Check out our chat below, and check out their Instagram to stay up-to-date on their screenings if you want to submit or just come hang and watch some amazing comedy. You might even get to meet their super cool mascot Shodent the Rodent...

P.S. if you're free Saturday, August 24, stop by the Show&Tell 10th anniversary awards ceremony. Details below!

Also, if you can't make the screenings, we're happy to announce we'll be sharing shorts from Show&Tell shows starting Tuesday. Buckle up!

Editor's note: the following quotes from Sethward are edited for length and clarity.

So what is Show&Tell, Huh?

"Show&Tell [Screening Spectacular] started in 2014 when Kyle [Helf and I] were discussing this concept of showing your art and your films to people, but not having a place that we felt like it was open for us to put up whatever. There were a couple of screenings in LA at that time that were incredibly popular for indie filmmakers and creatives. We do comedy shorts, so that's a very specific type of filmmaker.

As comedy filmmakers, we make sketches, short films, commercials—we make every kind of video. We sometimes screen specs, things that never get picked up. It's a very wide range of media, but then also very small because the genre is consistently comedy.

It was hard to find a screening option for straight comedy filmmaking. There was Channel 101, but that was very specifically pilots. I didn't always want to make a five minute pilot. There were other screenings [that would always ask], "what's a sketches?" There wasn't really good place to screen sketches. Film festivals don't want you to put up your internet videos. There wasn't really a place that we felt like we could gather people and show [comedy videos] in that community and fellowship—what are you up to? What are we up to? Kyle and I missed that from college.

We had essentially taken a show that was on the TV channel that the school was in charge of called TV 32. It was like a broadcast-cable thing. We picked up, there's a show called The Randumb Show, and we were playing with that concept. When we finished an episode that we really liked there was no input. There's no congratulations, there's no constructive criticism. There was nothing.

So when we were at school we started having these release parties and we would try to gather a lot of people. By the time it was our senior year, we'd pack out the auditorium and we would screen all of our sketches. It was a huge to-do, and it was so fun, and we were like, how do we do that in the real world? It's low stakes because it's just your friends, it's your crew. We want to have these little premier parties for your smaller projects. And some of them are bigger projects you've spent years working on, but you have nowhere to release.

So we started doing Show&Tell and it felt there was a larger community of people. There's something more that we can celebrate from finishing a project and sharing it. Now for the past 10 years we've been gathering together. You've finished that project that you said it was going to be so hard to finish and you did it. I can't believe you finished it. It's amazing. And I love it. It's one of my favorite things to do every month."

How to Submit to Show&Tell

Lively audience at Show&Tell (including Santa Claus)

Courtesy of Sethward

"Literally anyone can submit. We have a form on our website where it's just a simple Google Doc where you send in an unlisted link. We had to set up a parameter for Show&Tell that's what are you up to now? What have you just finished recently? And it is comedy. So our three rules are that you have to be there to present your video.

So we don't screen anything that has the creators living in another country or another town, and it's got to be comedy and it can't be published yet. So it's this environment that I just finished this, I'm about to release it into the world. What are your thoughts? What do you guys think? And it gives you the opportunity to maybe analyze the audience response, change a few things, or leave it the same or add some things. It's an amazing place for people to get input afterwards. We hang out and talk about each other's stuff, what we've been going on.

The curation process has gotten much more difficult over the years because of more people knowing about it. And friends, I mean, when we were in the backyard in the beginning it was like, I'm begging people, please don't put it online yet. Put it on Show&Tell first.

At this point, we're having to be a bit more selective in what we put in."

Show&Tell logo

"I'm a big deadline guy, so if I don't have a hard deadline, then I don't do nothing—not finishing it. Show&Tell was this hard deadline that I better have something to show these people in my backyard in a few days. It forced me to make a video every single month, at least. Some of those Show&Tells—when it was so new and we were excited—I was putting up three to four videos every month.

It's gotten to the point where I haven't made any larger projects. I've never made a feature film, and I kind of blame it on Show&Tell a little bit because by the time I finish a project for Show&Tell, I have to start making a new project for the next month since it's every single month. I don't have this larger arc accomplished.

But I'm figuring that. We play a lot of different stuff. So I could technically cut up every scene of this feature in parts of an episodic journey and play it once a month."

The Art of Collaboration in Absurdist Costuming 

Sethward as a Pumpkin man at Show&Tell

"I get into trouble with a lot of my work where I'm covered in slime, or I'm in a costume that's currently trying to kill me, and then I'm in the middle of filming and being like, oh yeah, I need to direct this so that it's what I want, or I need to make sure that the DP is getting the right shots, but I can't move.

Literally yesterday, I'm filming a video that we're going to put up a Show&Tell, but I'm covered in snot, right? I'm a snot genie, and I couldn't move because it was so slippery that if I were to walk over to Nate, who's shooting the film, I would've covered his camera in slime. Secondly, I would've put him in danger by getting slime over the place. So I couldn't really see the monitor. I have to trust.

I call it editor brain where I have been editing for days or I'm stuck on a computer, I'm writing emails and stuff, and then I get out and I have to perform. And you really do have to readjust. You need to center yourself because you get too technical. And so I trust the people that I work with. I try to get people to work with that I trust to help co-direct.

So every project I've ever done is a community effort. There's not at any point in my life where somebody will give a note on set and I'll be like, "excuse you. Stay in your lane. I'm the director here." I would never in a million years. I understand the concept of too many cooks in the kitchen, but I need it. I need more cooks for what I'm making and cooking. Sometimes I literally just need appendages. I'm in a worm costume or something. I literally can't touch stuff.

I've also had amazing help through the years with real costume designers. Every once in a while I'll be blessed by the real costume angels and people come in and give me a hand. But for the most part, all the things that you see falling off of my body because it was poorly made, it's because I did it. And it was usually because I did it right before the camera was rolling."

Sethward's Advice for Comedy Filmmakers 

"Specifically, for filmmakers that do comedy, you can't get tied up. And by the way, I'm no person to give advice. I have no status as professional comedy filmmaker. But from my years of doing comedy filmmaking, the biggest lesson that I've ever learned is that you have to put the comedy first.

Specifically when I say comedy, I say the fun and the silliness. And if you can't have fun, at least force the silly because then you will then have fun. And because that's the only thing that matters in comedy, specifically comedy filmmaking, your film can look amazing. It can sound great. You can have an awesome set or a beautiful costume, whatever it is to help support the joke, that's fine. But truly it doesn't matter if it's not obvious to the viewer that you are having the funnest time making it, you're having the silliest moment with your friends.

In my opinion, that's the absolute only thing that matters when you're making a comedy video. That being said, make sure that it comes first. I've failed at this many times where I'm like, I want it to look this way, I want the aesthetic and it needs to be a genre bending, blah, blah, blah.

The point of it is that you're making and creating something with your friends and your community, and I think Show&Tell is a great way to prove that, because it doesn't cost money to submit. It doesn't cost money to come to it. It's very low stakes. We're in a backyard. It's an outdoor screening. The reason why we're getting together is to laugh at the moment that we remembered you having so much fun and getting to relive that vicariously through other people, and being able to relive that by watching that video in a community. That's the whole point of what we're doing,—to share that stupid moment that we have together.

Anyway, I'm a huge advocate for being silly. If you're not being silly or you don't have time to be silly, frankly, I don't have time for you [ laughs ]."

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Indirect Characterization: Definition and Examples

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Indirect Characterization Definition: Indirect characterization is when the reader learns about the attributes of a character through their speech, actions, reactions from other characters, and appearance. The reader draws inferences about the character’s personality based on this information.

Indirect Characterization

Indirect characterization puts the reader in charge of deriving important information about a character through inferences in dialogue, actions, and reactions of that character and others in a story. Indirect characterization helps point the reader towards the question of why characters do certain things in a story. By examining their personalities, their interactions with others, the way they speak and look, and their reactions to events, the reader can reasonably deduce a character’s motivations. By working to understand a character in this way, the character and the story become more memorable and more personal to a reader.

A character’s motivations may reveal important details about how events in the past have shaped them, and the reader may find similarities with their own experiences in these details. An author can utilize these connections to develop theme, or the central message he or she wants the reader to garner from a story. For example, Atticus’ quiet, yet patient discussion with Scout who is visibly distraught after her first day of school, leads to an important theme Harper Lee wants the reader to take away from her novel To Kill A Mockingbird . Atticus tells Scout, “‘First of all,’ he said, ‘if you learn a simple trick, Scout, you’ll get along a lot better with all kinds of folks. You never really understand a person until you consider things from his point of view… until you climb into his skin and walk around in it.’” From this discussion, the reader can reasonably infer that Atticus is speaking from experience, and his wisdom is important for Scout to understand in order for her to be able to understand the world around her. The reader also sees that empathy is an important lesson that Atticus wants Scout to learn, and it is also an important theme that Lee reveals through the events of Tom Robinson’s trial, and Boo’s eventual appearance.

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Examples of indirect characterization.

Odysseus reveals his pride and arrogance when he taunts the Cyclops by revealing his name as he and his men escape the Cyclopes’ island in the epic poem The Odyssey by Homer.

Montresor, the narrator in Edgar Allan Poe’s short story “ The Cask of Amontillado ”, lets the reader know that he is a vengeful person when he explains his plan to seek revenge on Fortunato for insulting him.

In the novel The Scarlet Letter by Nathaniel Hawthorne, Hester Prynne’s constant touching of the scarlet “A” on her chest reveals to the reader that she feels guilt and remorse for her sin, while also hinting that there is something deeper about her sin that hasn’t been revealed yet.

George’s concern for Lennie in John Steinbeck’s Of Mice and Men reveals a softer side to George than he lets on. His gruff outer exterior is quelled by the fact that he tells Slim that he started watching out for Lennie after Lennie’s Aunt Clara died.

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Indirect characterization: what it is and how to use it in literature.

Indirect Characterization is a helpful tool that authors can use to add complexity to their characters. This method of storytelling unveils characters in a literary context that doesn’t explicitly tell the reader what they are like. This can be achieved by the words and actions of the characters or their private thoughts, as well as how the other characters treat them. Alternatively, direct characterization gives those details through overt description.

It is important to develop depth with a character so readers are eager to discover more. Indirect characterization does this by demonstrating qualities as they would be experienced. Picture it like meeting a person in real life. You learn about them gradually, and you make your mind up about them along the way. This way of learning about a character feels much more natural.

While indirect characterization is very helpful to build a fleshed out character, there are downsides if it is overused without direct information. Indirect characterization gives a picture to the reader that lets them decide what to think. The reader has freedom in how they perceive characters, but important details can slip through the cracks. 

If crucial details are not prioritized, there is a risk of the reader being misled or confused. Also, descriptions of the character can appear over-saturated with superfluous information. Your approach should form a complex character but not overwhelm the reader with details.  

What Is Characterization?

Characterization in literature is how a writer develops and communicates a character. Their thoughts, physical appearance, and habits are how the characters are brought to life. 

Indirect and direct characterization are two techniques in which characterization can be broken down. Both types of characterization can be an asset to writers, but here we’re going to focus on indirect characterization.

What is Indirect Characterization?

The tool of character revelation that shows the reader the character’s traits through dialogue, physical appearance, thoughts, and what the character does and how it affects others. This is usually done gradually to present the character in a less direct way.

What Is Direct Characterization?

The tool of character building that spells out the character using implicit detail rather than showing the character to the reader. This can be useful to an author especially when they want to emphasize details that are crucial to the character and the story.

5 Types of Indirect Characterization

Indirect characterization through action.

The actions a character makes can clue the reader into their motivations. This can be demonstrated through their mannerisms as well as their physical actions.

If a character is shaking while speaking in front of others, this might tell the reader that they are nervous when talking to people and may lack self confidence. 

An example of physical actions being used to express indirect characterization is a character offering their seat to someone on the bus. This could imply that they are polite and take notice of others around them. 

You want to ask yourself what the actions say to the reader about the character. Why do they give up their seat on the bus? Is to look good to others or because they are genuinely kind. You can reveal your character’s intentions by showing them in action.  

Indirect Characterization Through Appearance

How a character presents themselves can be very telling. The writer’s description shows something about the character.  

For instance, describing the character as having “large alluring eyes and shiny black hair” can hint at the character being attractive and healthy. The appearance of the character can also give a hint to their inner psyche. 

An example of this would be to describe a character with chewed up nails and wild eyes. These physical signs might suggest severe stress or panic. This type of indirect characterization can also be indicative of occupation, such as if the character is wearing a well made suit or a polo shirt with the company name on it. 

With these physical details a reader can begin to build a picture in their mind of who the character is.

Indirect Characterization Through Thoughts

The reader has a front row seat to the usually hidden thought life of someone else. The reader is privy to the character’s fantasies and inner musings that they may not reveal to others. What does the character think about that they don’t tell others? This can unveil secrets and important details about the characters and the story. How do they think of others around them? Do they constantly judge others against themselves, or do they feel invisible to people? This could reveal private feelings of loneliness, arrogance, or fear that are important building blocks to who they are. 

Indirect Characterization Through Dialogue

The speech of a character can be another useful type of indirect characterization. 

Whether the character speaks softly or loudly, frequently, or not at all can be indicative of a character’s disposition. If a character is shy this is shown in the way they softly talk to others or perhaps stutter over their words. A nervous disposition and fear of other people could be behind this. 

The actual content of the character’s dialogue is another telling way to illustrate their intent and personality. Do they use eloquent language when speaking to others? This could infer that they are well educated or that they want to show they are smarter than everyone else. Asking why they use the words that they do could be as important as what they say. 

Indirect Characterization Through Relationships

Lastly, a character’s effect on others can be a source of indirect characterization for the reader. This type of indirect characterization can tie together dialogue as well as action. 

If you have a character that is initially warmly received by peers, only for them to begin whispering once they turn their back, you immediately get a sense of the dynamic without it being explicitly stated. This could reveal that they don’t respect the other character enough to pretend to like them when they’re around. The reader can ascertain what kind of person they are by how other characters react to them whether they are in a scene with them or not. 

Indirect Characterization Examples

Now that you have been introduced to the 5 types of indirect characterization, some examples from a famous work of fiction will help to drive the concept home. The beloved classic Pride and Prejudice by Jane Austin offers many examples of Indirect characterization in literature.

Speech in Pride and Prejudice

Elizabeth meeting Darcy for the first time at the Meryton ball is an example of indirect characterization through speech. When Mr. Bingly tells Mr Darcy he should dance, he responds with:

“I certainly shall not. You know how I detest it, Unless I am particularly acquainted with my partner. At such an assembly as this it would be insupportable.”

Mr. Darcy reveals that he believes himself above the present company and that he doesn’t like to dance with strangers. As this is the first time his character is shown, this line is very telling to the reader about what he thinks of himself and others.

Action in Pride and Prejudice

Another event from the scene at the Meryton ball also presents an example of indirect characterization through action. Unlike Mr. Darcy, Mr. Bingly is shown to be likable because of what he does as shown in this phrase:

“Mr. Bingly had soon made himself acquainted with all the principal people in the room, he was lively and unreserved, danced every dance, was angry that the ball closed early, and talked of giving one himself at Netherfield. Such amiable qualities must speak for themselves.”

By introducing himself to people, dancing with different partners, and being friendly, he reveals his outgoing disposition to the reader.

Appearance in Pride and Prejudice

An example of indirect characterization through appearance is when Elizabeth makes the trek to Bingly’s estate on foot to visit her sick sister. Having walked through mud, the state of her clothing is very shocking to Miss Bingley, and she remarks back to her sister:

“… I hope you saw her petticoat, six inches deep in mud, I am absolutely certain; and the gown which had been let down to hide it not doing its office.”

Miss Bingley is disgusted that Elizabeth would appear this way. This line reveals how much Miss Bingley values presentation, but more importantly it shows the protagonist’s lack of concern for how she might appear to others. She is more determined to see her sister than to impress anyone with her clothes.

Thoughts in Pride and Prejudice

A character’s personality can also be displayed in their thoughts. Mr. Bennet in Pride and Prejudice reveals his inner musings of Mr. Collins:

“Mr. Bennet’s expectations were fully answered. His cousin was as absurd as he had hoped, and he listened to him with the keenest enjoyment, maintaining at the same time the most resolute composure of countenance, and, except in an occasional glance at Elizabeth, requiring no partner in his pleasure.”

This example shows Mr. Bennet as having a humorous personality and thinks of some of the other characters as a source of amusement. 

The Character’s Effect in Pride and Prejudice

Lastly, the effect a character has on others is seen in this line where the likability of Wickam is displayed:

“Mr. Wickham was the happy man towards whom almost every female eye was turned, and Elizabeth was the happy woman by whom he finally seated himself;…”

The attention that Wickham receives shows that not only is he attractive, but he is pleased to be the center of attention. 

How to Use Indirect Characterization

In addition to utilizing the five types of indirect characterization, there are some tips you’ll want to keep in mind. Successful character building blends both direct and indirect characterization. Consider using direct characterization to make important details clear to the reader, then indirect to expand on them as you move on in the story.

The use of a character’s setting can be a great way to incorporate indirect characterization. For instance if the character’s home is predominantly decorated in pink and porcelain china, writers can show that the character likes a traditional style of decor and favors a specific shade over others. 

If a writer wants to indirectly emphasize a character trait, they can reiterate a character trait that they want to stick out. Perhaps the writer wants to convey that a character is afraid of small spaces. Instead of the character spelling this out, this could be shown through repetition. The character could have trouble breathing when entering an elevator then shown as anxious when forced to enter a small hallway. This is a great way to deliver important details that stick out in the memory of a reader.

Indirect characterization is a great storytelling tool that can actualize characters that feel real. Writers can employ the five types of indirect characterization to portray characters as complex and three dimensional. Enjoy experimenting with this helpful tool to bring your characters to life.

• Scriptwriting

What is Indirect Characterization — Character Building Tips

• Types of Characters in a Story
• Protagonist
• Deuteragonist
• Tragic Hero
• Tritagonist
• Anti-Villain
• Foil Character
• Common Character Types
• Character Archetypes
• Types of Villains
• Femme Fatale
• Mad Scientist
• Damsel in Distress
• What is Characterization
• Characterization Examples in Movies
• Characterization of Anton Chigurh Explained
• Direct Characterization
• Indirect Characterization
• Round vs. Flat Character
• Round Character
• Flat Character
• Static vs Dynamic Characters
• What is a Static Character
• Dynamic Character

I ndirect characterization is an essential part of developing nuanced characters. But what is indirect characterization? We’re going to break down this writerly concept by looking at its definition and examples in literature and film. By the end, you’ll know why indirect characterization is an important part of developing nuanced characters.

Watch: What is Characterization — Two Types Explained

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Define Indirect Characterization With Subtypes

Primer on flat vs. round characters.

Before we dive into our indirect characterization definition, let’s quickly go over the difference between flat and round characters. The  characterization required for each of these character types varies quite a bit.

Flat characters are simple, one-dimensional characters. They’re often static (unchanging) and rarely indirectly characterized. Here’s an example of a flat character:

Chewbacca from Star Wars is a good example of a flat character because he’s incredibly simple, doesn’t change, and rarely indirectly characterized.

Round characters are complex multi-dimensional characters. They’re usually dynamic (changing) and often indirectly characterized. Here’s an example of a round character:

Don Draper from Mad Men is a good example of a round character because he’s emotionally complex, subject to change, and frequently indirectly characterized.

Indirect characterization is an important part of developing multi-dimensional characters. As such, it's an integral facet of round characters. We’ll get into how this type of characterization leads to character depth in a bit, but first let’s break down the indirect characterization definition.

INDIRECT CHARACTERIZATION DEFINITION

What is indirect characterization.

Indirect characterization is a subtype of characterization that’s defined by “showing” rather than “telling.” It is an important technique used by writers for developing nuanced characters. It is primarily utilized through what the character says, thinks, and does but also includes their effect on others and their physical appearance. This is commonly referred to as STEAL indirect characterization (see below). 

STEAL Indirect Characterization:

• Speech: what the character says
• Thinks: what the character thinks
• Effect: what effect the character has on others
• Actions: what the character does
• Looks: what does the character look like

Direct vs Indirect Characterization

Indirect characterization examples .

What is the difference between direct and indirect characterization? Well, direct characterization is telling, not showing; whereas indirect characterization is showing, not telling. But although indirect characterization is defined by the tenet “show, don’t tell,” it’s still used in literature to show who a character is rather than to tell us about them. 

Here’s a great example of indirect characterization from Harper Lee’s To Kill a Mockingbird . In this example, Atticus Finch kills a rabid dog named Tim Johnson. Think about how this event indirectly characterizes Atticus.

“With movements so swift they seemed simultaneous, Atticus’s hand yanked a balltipped lever as he brought the gun to his shoulder. The rifle cracked. Tim Johnson leaped, flopped over and crumpled on the sidewalk in a brown-and-white heap. He didn’t know what hit him.”

This moment contains a few indirect characterization examples in short order. It shows Atticus’s willingness to step up when leadership is needed. We can see his abilities handling a firearm with swift precision. And it also shows us that Atticus is a merciful character.

Conversely, House of Cards uses a similar plot set-up but characterizes its protagonist in a more sinister way. Watch the clip below and think about how Frank Underwood’s action of killing the dog is less about mercy and more about power. 

What’s Indirect Characterization?  •  House of Cards

In this moment, we get the impression that Frank Underwood is a ruthless character. Yes, he may have a hint of mercy too – but he’s mostly a “do whatever it takes” kind of character.

All of this is a testament to great characterization. 

Characterization In Action

Indirect characterization on the page.

Indirect characterization is an important part of building round characters. But how do we use indirect characterization? Well, we start with showing who characters are.

We imported The Lord of the Rings: The Fellowship of the Ring script into StudioBinder’s screenwriting software to take a closer look at one of the best moments of characterization in scriptwriting history.

As you’re reading, think about how screenwriters Fran Walsh, Philippa Boyens, and Peter Jackson use indirect type of characterization to show us why Aragorn is such a great character.

What is Indirect Characterization?  •   Indirect Characterization Examples in The Lord of the Rings

Here, we’re shown (not told) that Aragorn is a strong character. He not only rejects the allure of the ring, but he honors his vow to protect Frodo, even at the prospect of losing his own life. You can watch the scene in all its cinematic glory below.

What is Indirect Characterization in The Lord of the Rings

The Lord of the Rings: The Fellowship of the Ring isn’t the only big-budget film to masterfully implement this type of characterization though. 

Christopher Nolan’s Interstellar is an intimate character drama with a cosmic scope. In our Save the Cat! video essay on the film, we break down 15 key story beats that show Interstellar’s screenwriting strengths and weaknesses.

While watching, think about how Cooper’s actions indirectly characterize him.

Indirect Characterization Examples in Interstellar  •   Subscribe on YouTube

In one moment from Interstellar , Cooper sacrifices himself for the sake of humanity. This is a great example of characterization because it shows us Cooper’s “character” through an action. 

If you want to implement this type of characterization in your storytelling, consider showing moments of heroism (or villainy). This will indirectly tell us about a character in a way that’s more engaging than simply describing them.

Character Archetype Examples

Want to learn more about how writers build characters? Check out our next article where we break down a variety of character archetypes in literature and movies. We’ll show you character archetypes from The Office , Star Wars , and more so that you can implement character archetypes in your own stories.

Up Next: Character Archetypes Explained →

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What is Indirect Characterization

Direct characterization vs indirect characterization.

The difference between direct and indirect characterization is important to understand.

Direct characterization (or explicit characterization) is when a writer tells the reader what a character is like directly, through their words or actions. Direct characterization tells  the reader what to think about a character. It's pretty straightforward: the writer tells the reader what the character is like, and the reader forms an opinion based on that information.

Indirect characterization, on the other hand, is when a writer shows the reader what a character is like indirectly, by revealing the character's personality traits and key character details in different ways.

The advantages of using indirect characterization

One of the key advantages of indirect characterization is that it allows writers to explore characters in more depth. By revealing character details and aspects of their personality gradually, over time, readers can get to know them better and form stronger connections with them. Giving readers details sparingly also allows them to make their own interpretations of characters, which can be rich and rewarding.

Indirect characterization shows, rather than tells. Telling can be heavy-handed and can often feel artificial or forced. Showing, on the other hand, is subtler and allows readers to draw their own conclusions about characters.

Five Types of Indirect Characterization

Now that we've defined indirect characterization and discussed its benefits, let's take a closer look at five common types of indirect characterization.

1. Appearance

Appearance is probably the most self-explanatory indirect characteristic. It is the physical description of the character and what they look like on the outside.

For example, if a character has red hair and freckles, that would be part of their appearance. Another example might be if a character is always impeccably dressed. Giving the character's physical traits can be a quick and easy way to hint at their personality.

What a character wears can be especially telling. Clothes can be used to show that a character is wealthy, or poor, fashionable or not, etc. They can also be used to show things like occupation (a uniform) or hobbies (a sports jersey).

Appearance can also include things like how a character moves, or what kind of voice they have.

In some cases, appearance can even be used to reveal a character's mental state. For instance, if a character has disheveled hair and clothes it might show that they are unkempt or stressed out.

Actions are what the character does. A character's actions can be anything from the big things, like saving a cat from a burning building, to the small mannerisms , like fidgeting with a pencil when they're nervous. When you're writing your story, pay attention to the little details and ask yourself how each one might reveal something about the character.

For example: if your protagonist is always late for appointments, that might tell us that she's disorganized and doesn't value other people's time. Or if your antagonist never takes no for an answer, that might suggest that he's aggressive and domineering.

When it comes to actions, think about both the individual action itself and also why the character is doing it. Why does your protagonist always show up late for appointments? Is it because she's disorganized, or is there another reason? Why does your antagonist never take no for an answer? Is he stubborn, or does he have a more complicated motivation?

3. Thoughts

Thoughts are what goes on in the character's head. This can be anything from daydreams and fantasies to dark thoughts and fears. Thoughts can be revealing, especially if the character is thinking about something that they would never say out loud.

For example: if your protagonist is daydreaming about being a famous musician, that might tell us that she's creative and has big dreams. If your antagonist is afraid of failure, that might suggest that he's insecure and lacks confidence.

As with actions, it's important to think about both the content of the thought itself and also why the character is thinking it. Why is your protagonist daydreaming about being a famous musician? Is she creative and ambitious, or does she have low self-esteem? Why is your antagonist afraid of failure? Is he insecure, or does he have a specific reason to be scared?

Words are what the character says, both out loud and in their internal monologue. This includes everything from casual conversation to heated arguments. Like thoughts, words can be revealing, especially if the character is saying something that they would never say out loud.

For example: if your protagonist is always making jokes, even in serious situations, that might tell us that she's using humor as a defense mechanism. If your antagonist is constantly putting other people down, that might suggest that he's insecure and feels the need to put others down in order to feel better about himself.

As with thoughts and actions, it's important to think about both the content of the words and also why the character is saying them. Why is your protagonist making jokes even in serious situations? Is she trying to keep her anxiety under control, or does she just have a funny personality? Why is your antagonist putting other people down? Is he trying to make himself feel powerful, or does he have a different motivation?

5. The reactions of other characters to the character in question

Finally, it's important to consider the reactions of other characters to the character in question. This includes both direct and indirect characterization.

For example: if everyone is afraid of your protagonist, that might suggest that she's aggressive or violent. If everyone loves your antagonist, that might suggest that he's charming and likable.

Pay attention not just to what other characters say about the character, but also how they act around them. Are they cautious around your protagonist? Do they avoid him/her? Or are they drawn to them and want to be friends? Are other characters dismissive or mean towards your antagonist? Does he get along with everyone, or does he have enemies?

Indirect characterization is a way of describing a character by hinting at their personality traits without directly stating them. It's often done through the reactions of other characters, both to what the character says and does, as well as their thoughts and words.

Using indirect characterization along with direct characterization is important in creating a believable and well-rounded character. By using multiple methods of characterization, you can provide readers with a more complete picture of who the character is.

Hopefully these fives types explained in this article and the indirect characterization examples given will help you get a better understanding of your character, their thoughts, words, actions and the reactions of other characters around them.

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STEAL Characterization Chart

Description

There are five main methods of indirect characterization:   speech, thoughts, effect, action, and looks , often abbreviated STEAL. Use this STEAL chart and reference guide in your classroom, so students may easily apply indirect characterization techniques to any short story, poem, or novel.

Characterization  is the process that an author uses to reveal the personality of a character.

Direct characterization  is when the narrator explicitly states the type of person a character is.

Indirect characterization  is when readers make inferences about a character’s personality based on various pieces of implicit information.

Indirect characterization allows readers to form their own opinions about a character based on information other than what the narrator explicitly states. A reader’s respective insight may come from their own personal experiences, which makes the reading more engaging and memorable. Additionally, indirect characterization can also help students identify a character’s versatile personality. Showing different sides of a character may make the character feel more authentic and relatable.

STEAL CHART:

S  = Speech

T  = Thoughts

E  = Effect on others toward the character

A  = Actions

L  = Looks

This resource includes a graphic organizer and reference guide in PDF format.

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Direct Characterization Vs. Indirect Characterization

Direct characterization vs. indirect characterization. What’s the difference? Learn how to use both techniques to improve your writing!

Do you want to write characters that are worth reading?

Keeping your readers engaged with compelling, intriguing characters comes down to one critical skill- an author’s ability to describe their characters through direct and indirect characterization. That’s precisely what you’re going to learn how to do today. 

Keep reading to learn what direct and indirect characterization is, how and why authors use indirect and direct characterization, and how you can use both in your writing! We’ll also examine some classic literary examples of both types of characterization. As usual, at the bottom, you can find more resources on creating fantastic characters. 

Let’s get started with the basics. 

Definition of Characterization

Characterization is when the author describes a character. Simple, right? Through characterization, an author describes all the crucial details about that character. An author will describe physical traits like hair and eye color, or what a character is wearing. Authors will also cover aspects of a character’s personality, behavior, and motivation. 

Characterization Describes: 

• A character’s physical attributes 
• A character’s personality 
• A character’s action and behavior 
• A character’s motivation 

There are two techniques that storytellers use to illustrate engaging characters. These techniques are- 

• Direct Characterization
• Indirect Characterization 

Both direct characterization and indirect characterization have their place in a story, and neither one is preferable to the other. Instead, both forms of description can perform specific tasks in your story for which they are well suited. 

Let’s define direct and indirect characterization, and talk about how and when to use each technique. We’ll also take a look at some expert examples of both indirect and direct characterization. 

What is Direct Characterization? 

Direct Characterization is when the writer describes a character directly to the reader…through narration.

Direct characterization is when a writer describes a character directly to the reader, usually through narration. The author will  tell  the reader details about the character. These details will include things like the character’s physical appearance, personality, and what motivates the character. 

Example of direct characterization

Here is an excellent example of direct characterization from Richard Connell’s famous short story,  The Most Dangerous Game.  In this passage, the story’s protagonist, Sanger Rainsford, describes his first encounter with General Zaroff, his antagonist. 

“Rainsford’s first impression was that the man was singularly handsome; his second was that there was an original, almost bizarre quality about the general’s face. He was a tall man past middle age, for his hair was a vivid white; but his thick eyebrows and pointed military mustache were as black as the night from which Rainsford had come. His eyes, too, were black and very bright. He had high cheekbones, a sharpcut nose, a spare, dark face–the face of a man used to giving orders, the face of an aristocrat.”

From the author’s use of direct characterization, readers can tell a lot about the character of Zaroff. The general is wealthy, and he has a military background. Zaroff is also authoritative, and words like “high,” “sharpcut,” and “dark” lead us to believe Zaroff is both intelligent and possibly a nefarious man. 

How to write direct characterization 

Writing direct characterization is straightforward. You describe the details that make up your character with narration. The points you include can be anything you think is vital for the reader to know about your character. 

What does that mean? 

The details you choose to share about your character should give the reader an insight into the character’s inner workings or the plot of your story. Take a look at the example above, where the author describes General Zaroff’s face. Connell describes Zaroff as having sharp and dark features. It’s not a surprise to the reader that Zaroff turns out to be the story’s main antagonist because words like ‘sharp’ and ‘dark’ have a negative connotation. 

This example teaches us that word choice is important when describing a character. Had the author described Zaroff as having a round face and bulbous nose, the character would cut a far less intimidating figure. Think about the words used and how readers will interpret those words in the context of character description. 

When writing direct characterization for your characters, be sure to add details that will give your reader clues into a character’s personality. If you’re writing a character who is a neat freak and borderline OCD, then they should dress in a pair of fitted, pressed, and clean slacks.

When to use direct characterization 

Use direct characterization when first introducing a character to your readers. When a new character enters your story arc, you can use direct characterization to give readers the most important details about that character. Share the elements of a character’s personality that will impact the story, but don’t give away too much. You need to save some characterization for the reader to discover on their own. More on that, when we talk about indirect characterization. 

You can also use direct characterization to create a stark contrast between two characters, say two characters who are foils of each other. If your protagonist is cold and distant, but their best friend is kind and giving, then use narration to point out this contrast. Of course, you’ll want to use character behavior and indirect characterization to show these character details as the story progresses. 

This example leads to the question: 

What is Indirect Characterization? 

The author shows the character’s thoughts, actions, and interactions to add depth to that character.

When using indirect characterization, the author  shows  the character’s thoughts, actions, speech, and interactions to add depth to that character. The reader will draw reasonable conclusions based on how the character behaves. 

With indirect characterization, the reader must pay attention to a character’s actions and do a little detective work to discover who that character is as a person. Indirect characterization will give your story depth and give your reader something to do. Remember that reading should not be a passive act. Readers want to figure things out on their own. 

Example of Indirect Characterization. 

Let’s take a look at a dialogue between the characters of Rainsford and Whitney in  The Most Dangerous Game : 

“The best sport in the world,” agreed Rainsford. 

“For the hunter,” amended Whitney. “Not for the jaguar.” 

“Don’t talk rot, Whitney,” said Rainsford. “You’re a big-game hunter, not a philosopher. Who cares how a jaguar feels?” 

“Perhaps the jaguar does,” observed Whitney. 

“Bah! They’ve no understanding.” “Even so, I rather think they understand one thing–fear. The fear of pain and the fear of death.”

“Nonsense,” laughed Rainsford. “This hot weather is making you soft, Whitney. Be a realist. The world is made up of two classes–the hunters and the huntees. Luckily, you and I are hunters.”

The interaction between Whitney and Rainsford tells us important information about our protagonist, Rainsford. Whitney, a minor character in the story, acts as a foil to Rainsford by disagreeing with Rainsford’s worldview. 

Read more about character foils here. 

We learn that Rainsford, unlike Whitney, has no respect for the animals he hunts. He believes the world is made of hunters and the hunted and that his prey deserves no pity or respect. This idea plays heavily into the theme of the story and Rainsford’s ultimate fate. 

How to write indirect characterization

When writing indirect characterization, one of your first tools will be dialogue. The dialogue a character uses says a lot about the person they are. Through discussion, characters can express their worldview, as Rainsford does in our example above.

You’re also going to rely on a character’s behavior to demonstrate important aspects of that character’s personality. For instance, if you wanted readers to understand that your main antagonist is,  really,  terrible, you could have the character kick a puppy. It doesn’t get much worse than that.  

Think about how characters react to each other when writing indirect characterization. Suppose your antagonist is “puppy-kicking” awful. In that case, the people around him will keep their distance and be uneasy when interacting with him.

Finally, you can use a character’s inner monologue to give your readers a deeper understanding of a character’s motivation. If a character kicks a puppy, your reader will naturally ask why. The great thing about fiction writing is that you can answer that question by giving readers a glimpse into a character’s thoughts. Maybe, your antagonist despises weakness because she fears returning to a time in life when she was weak. That is something you can explore and explain through a character’s thoughts. 

When to use an indirect characterization 

An often-used piece of advice given to fiction writers is to  show don’t tell.  This rule means that you should establish a character’s personality through their actions, dialogue, thoughts, and interactions rather than stating facts about your character through narration. 

Once you’ve introduced a character and used direct characterization to give the reader a few key details, use indirect characterization to show and not tell. Use indirect characterization to reinforce the details you’ve provided about a character’s personality, or when you reveal new facts about your character. 

Use indirect characterization so that your reader can discover a character on their own. Readers will grow bored when an author continues to tell them what a character is like. Readers want to see what a character does and hear what a character says and draw conclusions about that character. 

Ultimately, readers want to discover the details of your story on their own. It is the author’s job to dole out enough clues so that a reader makes the correct assumptions about a character. 

Plot twists are another way that writers give their readers a sense of discovery. Read more about plot twists here! 

Use indirect characterization after you’ve introduced a character to reinforce your direct characterization. If you introduce a character by saying that the character has a kind face, then use indirect characterization to show that character doing kind things.

Ok, that’s a wrap on direct and indirect characterization, for now. But that’s by no means all there is to say on the subject of writing characters. If you want to learn more, check out the Art of Narrative “character” tab here . 

Or, check out below, where you’ll find more resources on writing characters from around the internet. And, finally, feel free to drop the infographic below on your website! Just right-click, then copy and paste the Html code. 

What’s your favorite method for characterization? Let me know in the comments! 

Read more about characterization: 

Master Class- Direct Characterization: Definition, Examples, and Direct vs. Indirect Characterization

Learn about first-person point of view here!

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4 comments on “Direct Characterization Vs. Indirect Characterization”

Excellent advice as always, John.

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Direct vs indirect characterization: How to show and tell

There are two main ways to reveal characters: direct characterization, and indirect characterization. What defines these two characterization types, and what are the strengths and weaknesses of each?

• Post author By Jordan
• 26 Comments on Direct vs indirect characterization: How to show and tell

Characterization describes the way a writer or actor creates or implies a character’s personality, their inner life and psyche. Two main ways to reveal your characters are direct characterization and indirect characterization. What are these character creation techniques? Read on for examples of characterization that illustrate both:

Guide to direct and indirect characterization: Contents

What is direct characterization, direct characterization example, what is indirect characterization, indirect characterization example.

• Eight tips for using direct vs indirect characterization

Let’s delve into using both characterization devices:

To begin with a definition of direct characterization, this means the author explicitly tells the reader a character’s personality .

For example, explicitly telling the reader a character is kind, funny, eccentric, and so forth.

Here’s an example of direct characterization from Virginia Woolf’s To the Lighthouse (1925).

Woolf explicitly shows what characters think of one another . In the example, an artist staying with the Ramsay family, Lily Briscoe, thinks about Mr Ramsay whom a man Mr Bankes has just called a hypocrite:

Looking up, there he was – Mr. Ramsay – advancing towards them, swinging, careless, oblivious, remote. A bit of a hypocrite? she repeated. Oh no – the most sincere of men, the truest (here he was), the best; but, looking down, she thought, he is absorbed in himself, he is tyrannical, he is unjust… Virginia Woolf, To The Lighthouse (1927), p. 52.

This is direct characterization – through Lily, Woolf describes Mr. Ramsay’s traits directly.

It’s telling (direct characterization typically is), but because we read it as one character’s opinion of another, it also shows us how Lily feels, whether or not she agrees with the statement that Mr. Ramsay is a hypocrite.

Through Lily, we learn Ramsay is ‘absorbed in himself’ or self-absorbed, tyrannical – we read direct statements about Ramsay’s personality that help us picture him and how he comes across to others.

‘Indirect characterization’ shows readers your characters’ traits without explicitly describing them.

To give simpler examples of direct vs indirect characterization, for direct you might write, ‘Jessica was a goofy, eccentric teacher’.

For indirect revelation of Jessica’s character, you might write instead, ‘Jessica had named the stick with a hook on the end she used to open the classroom’s high windows Belinda and would regale her children with stories of Belinda’s adventures (even though they were fourteen, not four)’.

In the second example of characterization above (the indirect kind), it is inferred that Jessica is goofy and eccentric. She names inanimate objects and tells teenagers stories of make-believe that would probably be better-suited to younger children.

Indirect characterization invites your reader to deduce things about your characters, without explicitly telling them who they are.

Here, John Steinbeck in  The Grapes of Wrath (1939) shows a character’s personality indirectly.

Steinbeck doesn’t say that hitchhiker Joad is a down-and-out, blue-collar worker. Instead, the author creates indirect characterization through the items a worker in this context would perhaps have: whiskey, cigarettes, calloused hands:

Joad took a quick drink from the flask. He dragged the last smoke from his raveling cigarette and then, with callused thumb and forefinger, crushed out the glowing end. He rubbed the butt to a pulp and put it out the window, letting the breeze suck it from his fingers. John Steinbeck, The Grapes of Wrath (1939), p. 9.

Types of indirect characterization

What types of indirect characterization are there?

Any writing that helps us infer or deduce things about a person’s psyche, emotions, values or mannerisms. For example:

• Dialogue-based inference: From the way your character speaks to others in the story, your reader may deduce that they are kind, cruel, gentle, etc.
• Implying through action: What your character does (for example jumping on a beetle to squash it) implies their character (in this case, it may imply that a character is cruel).
• Fly-on-wall description: Although what visual description implies may differ from country to country, culture to culture, neutrally-worded description may cause your reader to make specific assumptions based on what you’ve shown. We might assume, for example, an extremely pale-skinned character is reclusive or agoraphobic, like the reclusive Boo Radley in Harper Lee’s  To Kill a Mockingbird .

So how do you use direct and indirect characterization well? Read tips for each (and our complete guide to description for more examples):

8 tips for using direct and indirect characterization

Avoid overusing direct characterization, be direct with key details, support direct character statements with scenes, imply character through action and reaction, tell direct details that serve concision, use dialogue to characterize indirectly, let narrative voice give character, read examples of direct and indirect characterization.

Direct characterization is useful shorthand. Instead of pages showing how a character is mean, you could start with ‘He was mean.’ Balance is key, though. Overusing direct characterizing may skew the balance towards telling, not showing. Tweet This

If, for example, you wrote, ‘He was mean. He was petty and generally unkind, so that neighbors crossed the street when he passed,’ that mixes some indirect characterization with the direct type. Neighbors crossing the street is a visual that indirectly implies avoidance and discomfort or possible dislike.

If you were to only tell readers about your characters’ traits without weaving in illustrative showing (which give indirect inference about who your characters are), the effect would be:

• Hazy visuals : Crossing the street in the example above gives a more specific visual than simply saying ‘he was disliked by the community’.
• Lack of depth and color: If you tell your reader who your characters are exclusively with minimal showing or inferring, it may read as though you have a private understanding of your characters you are summarizing for the reader, rather than showing them a fuller, more detailed picture.

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Example of blending direct and indirect character detail

The opening of Toni Morrison’s powerful novel Beloved characterizes a house that is haunted by the ghost of an infant.

Note how Morrison moves from the direct characterization of the first sentence to specific, visual details:

124 was spiteful. Full of a baby’s venom. The women in the house knew it and so did the children. For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims. The grandmother, Baby Suggs, was dead, and the sons, Howard and Buglar, had run away by the time they were thirteen years old – as soon as merely looking in a mirror shattered it (that was the signal for Buglar); as soon as two tiny hand prints appeared in the cake (that was it for Howard). Toni Morrison, Beloved (1987), p. 17.

The trick to effective direct characterization is to reserve it for key details you want to establish upfront.

In the example of blending indirect and direct character description above, Morrison starts with direct, broad detail. A sense of spite that drives boys in the family from a home filled with the ghosts of a corrosive, violent history.

If you were to write a retelling of Charles Dickens’ A Christmas Carol you might start with ‘Scrooge was stingy’ and then similar flesh this key detail out with the illustrative, supporting detail.

The indirect characterization you then add on to key details gives further texture, color, specificity to your characters. It helps, of course, to know your characters inside out:

The example above from Beloved shows how indirect characterization supports direct descriptive statements .

The boys Howard and Buglar fleeing from mirrors that seem to shatter by themselves or tiny hand prints appearing in a cake, for example. These specific images and incidents support the suggestion that the home at 124 is haunted by a ‘spiteful’ (or rather, determined-to-be-known) presence.

If you tell your reader a character is kind, think of dedicated scenes as well as passing moments that support the direct revelation.

Maybe your character gives up a seat on public transport for an elderly person. Maybe they help a neighbor get a pet that has run out of an open gate into a busy road to safety.

Indirect characterization is useful because it shows your reader the type of actions your character is likely to take .

This in turn enables your reader to make educated, qualified guesses about how your characters’ might react in situations whose outcome is not yet known. Through this, one ‘gets to know’ characters as though they were real people.

Action and reaction provide useful ways to tell your reader who your characters are indirectly.

For example, Sarah has a vase that belonged to her grandmother that she cherishes, and her hyperactive son knocks it over and breaks it. Does she scold him to be careful? Lash out? Show a mix of anger and understanding?

Think about what you want your reader to infer about a character from the way they react, even in incidents or situations that are trivial or secondary to your story’s main plotline . In this way every scene, every incident, will contribute toward building your characters’ personae.

One of the benefits of direct characterization is that it allows you to be concise.

Direct characterization is useful, for example, when a narrator is recapping prior events that are useful to the present story but not its main focus. For example, in the first page of Nick Hornby’s Slam , a novel about a sixteen-year-old skater named Sam:

So things were ticking along quite nicely. In fact, I’d say that good stuff had been happening pretty solidly for about six months. – For example: Mum got rid of Steve, her rubbish boyfriend. – For example: Mrs Gillet, my art and design teacher, took me to one side after a lesson and asked whether I’d thought of doing art at college. Nick Hornby, Slam (2007), p. 1

At this point in the story, the reader doesn’t need lengthy exposition about why Steve was a rubbish boyfriend. So the direct, telling characterization suits the purpose of this part of the story – catching the reader up on what has been happening in the teenaged protagonist’s life.

There is still balance between indirect and direct characterization in this example. The second example Sam gives tells us (through Mrs Gillet’s action) that the teacher is caring and sees artistic potential in Sam, without saying so explicitly. The part or unique incident suggests the whole of the teacher-student relationship.

Dialogue is a fantastic device for characterization because it may move the story forward while also telling your reader who characters are.

If, for example, there is banter and characters tease each other, it may imply an ease and familiarity (compared to stiff formality between strangers). Note, for example, how Hornby creates a sense of how awkward Rabbit is (an 18-year-old skater at Grind City, a skate park Sam frequents) in the dialogue below:

‘Yo, Sam,’ he said. Did I tell you that my name is sam? Well, now you know. ‘All right?’ ‘How’s it going, man?’ ‘OK.’ ‘Right. Hey, Sam. I know what I was gonna ask you. You know your mum?’ See what I mean about Rabbit being thick? Yes, I told him. I knew my mum. Hornby, pp. 11-12.

In this brief exchange, we see through the awkward, stop-start flow of conversation how Rabbit lacks social graces and awareness and (in the ensuing dialogue) reveals he has a crush on Sam’s mother.

Another useful way to use indirect characterization is to give an involved narrator (a narrator who is also a character in the story) a personality-filled voice .

In the above example of characterization via dialogue, for example, Sam’s asides to the reader (‘Well, now you know’ and ‘See what I mean about Rabbit being thick?’) create the sense of a streetwise, slightly jaded teenaged voice.

Think of ways to inject characters’ personalities into their narration. What subjects do they obsess over (it’s clear Sam loves skating from the first few pages of Slam )? How do they see others (Sam appears fairly dismissive and a little cocky, from referring to his mom’s ‘rubbish’ boyfriend to his blunt description of Rabbit as ‘thick’).

Use language in narration your character would use based on demographic details such as age, cultural background or class identity.

The casual, clipped language Sam uses in the example above suggests the awkward and ‘too cool’ qualities of a teenaged boy.

To really understand the uses of direct and indirect characterization (and how to blend to two to show and tell, describe and imply), look for examples in books.

You could even write out the descriptions you love, to create your own guide to dip into whenever you’re creating characters.

Create believable, developed characters. Finishing a book is easier with structured tools and encouraging support.

Related Posts:

• Indirect characterization: Revealing characters subtly
• Direct characterization: 6 tips for precise description
• Writing advice: Show, don't tell: or should you?
• Tags character description , characterization

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.

26 replies on “Direct vs indirect characterization: How to show and tell”

Well explained and helpful

Thank you, Lexi. Thanks for reading!

Thanks for this, I’ve been back a few times now but failed to post a comment. ? This is going to help a lot during this revision!

It’s a pleasure, Robin. Glad you managed in the end. We’ve been migrating our blog to https (more secure) which may have been the cause. Good luck with your revision!

Ah! Okay. Thank you! First books are hard so much to learn. I feel like I could have written two other books while fixings this one. xD (I want to, I enjoy shaping the old chapters to how I write now. ^;^) I also found a program to help speed this up; bibisco. I like it way more than the complicated expensive writing programs out there. IMO.

Where to sign up to get updates for this blog? I don’t want to forget about your blog. (I need reminders for everything. lol. A newsletter is a good way to do that.)

If you sign up for a Now Novel member account, you get subscribed to our blog newsletter too. Alternatively, drop us a line at help at now novel dot com with the email address you’d like to use to get updates and I’ll have our email guy add you to our mailing list. Thanks!

Can you please ,include a section about dynamic and static characters? Thanks for your precious help

Hi Abdou, thank you for the suggestion! I’ll add it to the list for revision ideas, thank you.

You are welcome.

This is such a great website offering very useful tools for writers. I’ve been Googling for days now about everything I wanted to learn in novel writing and I can’t believe I just found this site.

Thanks, Alexa. I’m glad you’ve found our website helpful 🙂

You shared some excellent tips on characterization. I think all writers can benefit from this blog.

Thank you so much, Derrick. I’m glad you’re finding our blog helpful! Thanks for reading.

This is very helpful and I Aced my quiz on something i’m not that good at cool when you lookat the paper it looks long but when you start reading you get lost

Glad you aced your quiz, Kimberly.

Thank You great job!

Thanks, Anna. Thank you for reading our blog!

Very useful.

Thank you so much,

Thank you for your feedback, Aleix. It’s a pleasure, thank you for reading our articles.

Thank you for a clear explanation. It is most useful.

It’s a pleasure, Vivienne. Thank you for reading our blog.

An author employs indirect characterization to avoid explicitly announcing a character’s attributes by revealing those aspects to the reader through the character’s actions, thoughts, and words. Using the phrase “John had a short fuse” as an example would be direct characterisation, but the phrase “John hissed at the man without any prior warning” would be indirect portrayal.

Thank you for sharing your example of indirect and direct characterization and for reading our blog.

[…] is direct characterization is so […]

Thank you for providing this complete reference on direct and indirect characterization. It is often difficult to strike a balance between showing and explaining in writing, and your examples and advice are quite helpful. I really like the focus on utilizing both strategies sparingly, as well as the reminder that indirect characterization may frequently result in a more detailed and compelling picture of characters. I’ll keep these tips in mind as I strive to hone my own writing style.

Thanks so very for your comment. We’re so pleased that you found it helpful. All the best with your writing!

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Indirect Characterization Examples

Characterization refers to how authors develop characters in their writing. As we read, we need to understand the characters so that we understand how their actions help the plot to unfold. We also usually like to get a sense of what they look like as we read.

There are two main types of characterization: direct and indirect characterization . Direct characterization is when the author comes right out and tells the reader what to think about the character.

Jeff was a mean boy. Joe's boss was stingy and rude. Clarissa was the nicest girl in school.

Indirect characterization is the opposite of direct characterization. Instead of coming out and telling you what to think about the character, the author describes the person's appearance, actions and words, and sometimes even thoughts to help the reader form an opinion about the character.

Examples of Indirect Characterization:

Jeff walked up to Mark and took his sandwich off of his plate. He took a bite, smirked at Mark, and then walked away.

When it was time to go home, Joe's boss called him to his office. He told Joe that he would not get his paycheck for the week until he finished a report on a new product. Then, his boss got up, turned the lights off, and left the office to go home. Joe trudged back to his desk.

Clarissa saw what Jeff had done to Mark, and she quietly picked up her tray and went to sit with Mark. She cut her own sandwich in half and gave Mark half. Then, she started to talk to Mark about his favorite television show until he forgot all about Jeff.

Examples of Indirect Characterization from Literature:

In To Kill a Mockingbird , Harper Lee uses indirect characterization to describe one of Scout's neighbors-Mrs. Dubose.

Mrs. Dubose lived alone except for a Negro girl in constant attendance, two doors up the street from us in a house with steep front steps and a dog-trot hall. She was very old; she spent most of each day in bed and the rest of it in a wheelchair. It was rumored that she kept a CSA pistol concealed among her numerous shawls and wraps. Jem and I hated her. If she was on the porch when we passed, we would be raked by her wrathful gaze, subjected to ruthless interrogation regarding our behavior, and given a melancholy prediction on what we would amount to when we grew up, which was always nothing. We had long ago given up the idea of walking past her house on the opposite side of the street; that only made her raise her voice and let the whole neighborhood in on it. We could do nothing to please her. If I said as sunnily as I could, "Hey, Mrs. Dubose," I would receive for an answer, "Don't you say hey to me, you ugly girl! You say good afternoon, Mrs. Dubose!"

In "Sonnet 130," William Shakespeare uses indirect characterization to describe his mistress:

My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare.

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What is Indirect Characterization? Exploring Subtle Techniques in Literature

By: Author Paul Jenkins

Posted on Published: June 30, 2023  - Last updated: July 5, 2023

Categories Writing

Indirect characterization is a writing technique that allows authors to reveal and develop a character’s traits and qualities without explicitly stating them. By subtly incorporating actions, thoughts, speech, and interactions with other characters within the story, readers can infer a character’s personality and attributes, enhancing their connection with the characters. This “show, don’t tell” approach encourages readers to actively engage with the content and develop their interpretations, fostering a richer reading experience.

In contrast to direct characterization, which typically involves presenting a character’s traits outright, indirect characterization relies on the audience to draw conclusions based on the author’s various cues. This technique can add depth and complexity to literary works, allowing characters to evolve as readers gain further insights into their nature, motivations, and growth. By understanding and utilizing indirect characterization effectively, writers can create multi-dimensional, relatable characters that resonate with readers and support the overall narrative.

Key Takeaways

• Indirect characterization involves revealing character traits through subtle cues, promoting active reader engagement.
• This technique creates depth and complexity in characters, contributing to a richer story.
• Understanding indirect characterization is essential for crafting strong, relatable characters in literature.

Understanding Indirect Characterization

Instead of stating them outright, writers use indirect characterization to reveal character traits through actions, thoughts, speech, and interactions. As a reader, you’re encouraged to infer the character’s personality and attributes based on these clues.

When using indirect characterization, an author might describe a protagonist by writing, “John snapped at the man without warning,” instead of using direct characterization, such as, “John was short-tempered.” This approach allows you to observe the character’s behavior and form conclusions about their temperament.

There are several ways a writer can employ indirect characterization:

• Dialogue : Pay attention to the character’s conversations with others, their choice of words, tone, and style. These details can provide insight into their background, education, and relationships.
• Actions : Consider the character’s decisions, habits, and reactions to different situations. Their choices can reveal their motivations, moral compass, and emotional state.
• Thoughts : A character’s internal monologue can glimpse their fears, desires, and beliefs, which help shape their behavior and relationships.
• Effect on others : Observe other characters’ reactions to a particular individual. This can give you a sense of their social status, likability, and impact on those around them.
• Physical appearance : Though not always indicative of a character’s personality, clothing, grooming, and physical characteristics can sometimes offer clues about their attitude, social class, or emotional state.

As you read a story, try to analyze these elements to develop a deeper understanding of the characters. Indirect characterization encourages active engagement with the narrative, helping you feel more involved and connected to the characters’ development. This technique contributes to the richness of a story, making it more immersive and thought-provoking. Remember, as a reader, it’s up to you to decode the author’s cues and construct a comprehensive portrayal of each character.

Types of Indirect Characterization

Pay attention to your characters’ actions to comprehensively understand their personalities. How they interact with others, respond to situations, and engage in activities can reveal their motives, values, and beliefs. Creating complex actions that demonstrate your characters’ internal growth, strengths, and weaknesses is essential. Be sure to highlight meaningful choices and actions to showcase your characters’ traits without directly stating them.

Your characters’ dialogue reveals their personalities, motivations, and backgrounds. You can provide valuable clues about who they are by carefully crafting the language, tone, and delivery of your characters’ speech. Consider various aspects of dialogue, such as cadence, vocabulary, and style, to convey essential information about your characters’ upbringing, education, and social status.

Through inner monologue or stream of consciousness, you can give readers an intimate view of your characters’ thought processes, providing insights into their fears, desires, and emotions. Be selective in presenting your characters’ thoughts, focusing on moments that reveal critical aspects of their personalities or contribute to the narrative’s progression. Balancing thoughts with other indirect characterization methods will create a well-rounded understanding of your characters.

Describing your characters’ physical appearance, attire, and body language helps shape their overall image and how others perceive them. For example, a character’s clothing choice may communicate their taste, status, or occupation. Consider using metaphors, symbols, and other narrative devices to describe your characters’ appearance in a way that adds depth to their personalities and the story.

Reactions of Others

One effective way to indirectly characterize your characters is by illustrating how others react to or perceive them. This method provides an external perspective on your characters, illuminating their unique traits and revealing information that might be unknown to the readers. Consider the interactions and expressed opinions of supporting characters when revealing the different facets of your main characters’ personalities.

By employing these various techniques, you can create engaging and multidimensional characters that readers can connect with and feel invested in throughout your narrative.

Examples Of Indirect Characterization In Literature

In literature, indirect characterization gives readers a deeper understanding of a character through their actions, thoughts, and interactions with others. You can notice how authors subtly reveal their characters’ personalities through various situations as you read. Let’s explore a few examples from classic literature:

In F. Scott Fitzgerald’s “The Great Gatsby,”  we can see indirect characterization in how Gatsby is introduced. Instead of directly stating that Gatsby is mysterious, the author shows it by painting a picture of the lavish parties he throws where none of the guests know their host personally or have even met him.

Harper Lee’s “To Kill a Mockingbird” provides an excellent example of indirect characterization in the portrayal of Atticus Finch. Through his actions and dialogue with his children, we learn about his strong morals and dedication to justice. He teaches Scout and Jem the importance of standing up for what is right, even in adversity.

In Jane Austen’s “Pride and Prejudice,” the relationship between Elizabeth Bennet and Mr. Darcy is developed through indirect characterization. Their initial impressions of each other are negative. Still, as the story unfolds, we see their true nature through their actions, attitudes, and conversations, eventually changing their perceptions.

Charles Dickens’ “A Christmas Carol” showcases the transformation of Ebenezer Scrooge through indirect characterization. Scrooge’s miserly behavior and lack of empathy are demonstrated through his interactions with employees and refusal to help others in need. As the story progresses, Scrooge’s change of heart is evident in his actions, such as buying a large turkey for the Cratchit family and making amends with those he’s wronged.

In J.D. Salinger’s “The Catcher in the Rye,” the protagonist Holden Caulfield is characterized indirectly through his inner thoughts and actions. The reader gains insight into Holden’s struggles and worldview as he navigates his teenage life, witnessing the adult world’s hypocrisy and complexity.

Through these examples, you can see how impactful indirect characterization can be in developing the characters’ depth, complexity, and relatability in literature. Remember the subtle clues and details while reading, as they can enhance your understanding of the characters and their motivations.

Importance Of Indirect Characterization In Storytelling

Indirect characterization plays a vital role in storytelling, allowing you to create multi-dimensional characters that feel authentic and relatable to readers. By revealing a character’s traits through their actions, thoughts, and speech, you allow readers to interpret these clues and draw their own conclusions about the character. This engagement promotes a deeper connection to the story and encourages readers to invest emotionally in the characters.

One advantage of indirect characterization is that it often increases realism. Rather than telling your audience that a character is brave, for instance, you can show the character making courageous decisions or facing adversity head-on. This method of “show, don’t tell” helps your readers form a more accurate and believable understanding of the character’s personality and motivations.

In addition, indirect characterization contributes to the development of subtext and thematic depth within your story. Demonstrating a character’s traits through interactions with others and their environment allows you to explore relevant themes and convey messages that resonate with your readers. For example, you might reveal a character’s resilience in the face of loss, which could reinforce a theme of perseverance and personal growth.

Lastly, incorporating indirect characterization can add complexity and nuance to your characters. People’s attributes are not always apparent on the surface, and by subtly revealing these traits, you mirror the real-life process of getting to know someone. This increases the believability of your characters and leads to a richer and more engaging reading experience.

In summary, incorporating indirect characterization in your storytelling can significantly enhance your characters, foster reader engagement, and contribute to a more realistic and thematically rich story. So, as a writer, recognize its importance and employ this technique skillfully in your work.

Distinguishing Between Direct And Indirect Characterization

When you write a story, one of your main tasks is to create multidimensional characters that resonate with your readers. There are two primary methods you can use to convey information about your characters: direct characterization and indirect characterization.

Direct characterization occurs when the author explicitly tells the reader about a character’s traits or features. For example, an author might write, “John was a tall, broad-shouldered man with dark hair and piercing blue eyes.” In this case, the author directly states the character’s physical appearance.

Indirect characterization, on the other hand, is more subtle. Instead of stating the traits outright, the author shows the character’s qualities through actions, thoughts, speech, or interactions with others. For example, a writer could imply a character’s generosity by having them give away their last dollar to a homeless person on the street. The reader can infer the character’s traits based on the evidence presented.

To create compelling and nuanced characters, balancing both types of characterization is essential. Direct characterization allows you to quickly provide essential information about a character, but relying too heavily on it can make your writing feel dry and unengaging. Indirect characterization, while more engaging, may take longer to paint a clear picture of your character in the reader’s mind.

Consider using a mix of these two techniques to create vivid, realistic characters. For instance, you might use direct characterization to establish a character’s physical appearance, occupation, or basic personality traits. Then, supplement that with indirect characterization to reveal more profound aspects of their nature, such as their values, motivations, or insecurities.

Ultimately, the method of characterization you choose should enhance your story and help the reader connect with your characters. By balancing direct and indirect characterization, you can create a richer, more dynamic narrative that engages your audience from start to finish.

Developing Indirect Characterization Skills

To improve your indirect characterization skills, it’s crucial to understand its definition. Indirect characterization is when an author reveals a character’s traits through actions, thoughts, speech, etc., instead of stating it outright 1 . This method provides depth to your characters, making them more multidimensional and engaging to your readers.

First, focus on your character’s dialogue. Instead of stating that a character is kind, show it through their interactions and spoken words. For example, have them offer assistance or express concern for others. This technique demonstrates their kindness indirectly and immerses the reader more deeply into your story.

Next, pay attention to your character’s actions. A character’s behavior can reveal their personality without explicitly saying so. For instance, a character who consistently arrives early to appointments shows punctuality and responsibility, while a character who avoids conflicts might indicate their non-confrontational nature.

Thoughts and inner monologues can also serve as a window into your character’s personality. By providing insights into their thought processes, values, and beliefs, the reader can understand the character more deeply. When properly implemented, a character’s thoughts can make them relatable and fully realized to the audience.

Lastly, consider the reactions of other characters within your story. How others perceive or treat your character can help to characterize them indirectly. If everyone trusts and respects a particular character, they have earned this through their actions and demeanor.

By incorporating these techniques into your writing, you’ll develop strong indirect characterization skills, enhancing the depth and realism of your characters. As a result, your readers will become more invested and connected to the story you’re telling 2 .

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Frequently Asked Questions

How does indirect characterization differ from direct characterization.

Indirect characterization reveals a character’s traits through actions, thoughts, speech, and interactions with others, letting you infer their personality. For example, a protagonist might “snap at the man without warning.” On the other hand, direct characterization tells you a character’s traits outright, such as stating that “John was short-tempered.”

What are some common methods used for indirect characterization?

Indirect characterization can be conveyed through a character’s dialogue, thoughts, actions, and reactions. Additionally, a character’s physical appearance and how other characters react to them can provide insight into their personality. Remember, the key is to show, rather than tell, the character’s traits.

Can you provide examples of indirect characterization in literature?

Certainly! In Harper Lee’s “To Kill a Mockingbird,” Atticus Finch demonstrates his sense of justice and morals by defending a black man in court when racial discrimination was rampant. Another example is Jane Austen’s “Pride and Prejudice,” where Elizabeth Bennet’s wit and intelligence are showcased through her clever conversations and observations.

How is indirect characterization used in movies?

In movies, indirect characterization is often portrayed through body language, facial expressions, and on-screen actions. A character’s wardrobe, behavior, and interactions with other characters can reveal their traits. For instance, a character might show loyalty by standing up for a friend in a difficult situation or display fear through tense body language.

What role does indirect characterization play in developing a character?

Indirect characterization plays a significant role in making characters feel believable and relatable. By showing their thoughts, emotions, and worldviews in various contexts, you provide a robust understanding of who your characters are. This technique helps you connect with the characters deeper, making their journey more engaging and meaningful.

Are there any techniques for identifying indirect characterization in a text?

To identify indirect characterization in a text, look for clues through dialogue, actions, thoughts, and the character’s effect on others. Pay attention to descriptions of a character’s habits, body language, and reactions from other characters. Gradually, these clues will come together to help you understand the character’s personality and motivations without being directly told by the author.

• Literary Terms
• Characterization
• Definition & Examples
• When & How to Use Characterization

I. What is Characterization?

Characterization is a writer’s tool, or “literary device” that occurs any time the author uses details to teach us about a person. This is used over the course of a story in order to tell the tale.

Aristotle first defined characterization in the 15 th century, speaking of the importance of plot over character in Poetics , “ Tragedy is representation, not of men, but of action and life.” What he means here is that “tragedy” (or drama, meaning a story) is not centered on the thoughts, and histories, and dreams of the characters . The story is centered on what happens to them (the plot), so writers employ characterization to relay information about those thoughts, histories, and dreams, without drifting away from the action.

II. Examples of Characterization

The way a character speaks can inform us of their background and personality, like how educated they are, or what they consider to be important. Even the way other characters speak to and about our characters is a form of characterization.

In the Harry Potter series, Dobby refers to Potter as “the noble Harry Potter,” or “good Harry Potter,” which shows us how the house elf adores the young wizard. It might also be a hint of how Dobby would show affection for other people he admires.

The way a character reacts to a certain scene also teaches us about them. For example, a character who snubs a beggar has is different from a character who opens their wallet and hands over a wad of hundreds, and still there are more differences from a character who works directly with the homeless population in a city. Characterization can happen in many, many ways.

III. Types of Characterization

A. direct/explicit.

This is clearly informative, and often uses the narrator, the protagonist, or the character themselves. The narration, “Clara had always been a smug, wicked little princess,” is a form of direct or explicit characterization, as is the line of dialogue, “Nicholas will never stop until he gets what he wants! He’s crazy!”

b. Indirect/Implicit

This more subtle method of characterization relies on you, the reader, to decide for yourself what it means. Indirect or implicit characterization uses behavior, speech, and appearance, as well as the opinions of other characters. Although other characters can be used to make direct characterization (“Nicholas is crazy!”), they can also be used to make indirect characterization about themselves.

Figuring out what it all means is most of the fun, and it’s the reason fans of certain books, shows, and movies can argue about whether or not a certain character is good, or evil, or in love. They’ve interpreted the characterization differently.

c. The Importance of Characterization

Modern storytelling usually emphasizes characterization even more than classical literature. This is because characterization is a major tool in the plot-driven narrative. They can quickly connect the reader to the character, without taking them out of the action. When you’re busy moving characters from one place to another, making things happen to them, it’s clumsy to suddenly stop, get inside of Tom’s head, and drift around with his thoughts for a while. On the other hand, no one is going to truly care about a story if they don’t care about its characters, whether by love or hate or even just amusement or pity.

So, it’s very useful to balance these two areas of development. Plot and character should be developing side by side and rely upon each other, which reflects the human experience. After all, how much of our own “plots” are related to our decisions (our character), and how much of it is totally random and disconnected from what we do?

IV. Characterization in Literature

Many of the most famed manuscripts are beloved for their “strong characters,” which is another way of saying characterization. Harry Potter has already been mentioned and has many beloved characters such as Hermione or Hagrid. From The Great Gatsby to A Christmas Carol , characterization is a major facet of both classical and popular fiction.

In The Great Gatsby , the location of lower upper-class characters (East Egg) compared to the location of upper upper-class characters (West Egg) serves to characterize their financial boundary.

In A Christmas Carol , Scrooge tells a charity collector that, if the poor would rather die (than go to poor-houses), they’d better do it, and “decrease the surplus population.” This line tells us a lot about how Scrooge sees both other people and his own good fortune.

V. Examples of Characterization in Pop Culture

Characterization, like many elements of storytelling technique, is an invisible tool to most casual readers. Many craft books and classes are devoted to the subject; they help build and portray strong, flawed, and realistic characters. The main source of characterization in pop culture comes from writers, actors, directors, and other types of artists that create scripts or skits. These mediums usually help the actors form the characters seen in plays, movies, TV shows, and other similar mediums. Here are a few examples:

Even Progressive commercials, which use the recurring salesperson Flo, could be said to use this skill.

Comedians can be said to use characterization for their stage personalities, because of its intentionally staged format, which details a certain personality. Comedians like Jeff Dunham actually create multiple characters. Using his ventriloquist skills and characterization, he jokes about different subjects relevant to the character.

In Ferris Bueller’s Day Off, we see best-known movie characters that is a product of characterization. In the excerpt from the movie, his monologue introduces us to him, his opinions, and his plan of skipping school. More than likely, the monologue was scripted this way in order to give the audience an idea of the main character and what’s to come.

Keep in mind that although sometimes real people may seem like fictional characters—for example, rock stars or those on reality television—they are not agents of characterization unless they are being featured in a written work, such as in a magazine article, or a biographical book or film. Only in this scenario would the artist then use characterization to show personality in a manner which does not detract from the narrative (plot) itself.

VI. Related Terms

Flat, or unidimensional.

These terms are used to criticize characters who are poorly characterized, or poorly developed. Oftentimes, they speak in ways that don’t sound realistic, and are considered to be stereotypes . For example, the busy housewife could easily be called unidimensional. This doesn’t mean that you can’t have characters who seem to be stereotypes, but it does mean that they need to not be stereotypes upon closer examination. Perhaps the busy housewife loves to blow off steam with hiking and camping, instead of with a “spa day” that might just reinforce the stereotype.

Coined by Carl Jung, this refers to a set of twelve character types which (supposedly) exist across cultural boundaries and eras of time. Many writers consult these archetypes , but don’t rely on them alone. The twelves archetypes are: the Hero, the Caregiver, the Explorer, the Rebel, the Lover, the Creator, the Jester, the Innocent, the Sage, the Magician, the Orphan, and the Ruler.

VII. Conclusion

Characterization is one of the main building blocks of fiction today, no matter what genre or media the story uses. Anything that teaches the audience about your character is characterization, but the most common methods are through concrete action, dialogue, description, and the actions, thoughts, and words of the other characters in regards to the characterized character.

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Characterization

Characterization Definition

What is characterization? Here’s a quick and simple definition:

Characterization is the representation of the traits, motives, and psychology of a character in a narrative. Characterization may occur through direct description, in which the character's qualities are described by a narrator, another character, or by the character him or herself. It may also occur indirectly, in which the character's qualities are revealed by his or her actions, thoughts, or dialogue.

Some additional key details about characterization:

• Early studies of literature, such as those by the ancient Greek philosopher Aristotle, saw plot as more important than character. It wasn't until the 15th century that characters, and therefore characterization, became more crucial parts of narratives.
• Characterization became particularly important in the 19th century, with the rise of realist novels that sought to accurately portray people.

Characterization Pronunciation

Here's how to pronounce characterization: kar-ack-ter-ih- zey -shun

Direct and Indirect Characterization

Authors can develop characterization in two ways: directly and indirectly. It's important to note that these two methods are not mutually exclusive. Most authors can and do use both direct and indirect methods of characterization to develop their characters.

Direct Characterization

In direct characterization, the author directly describes a character's qualities. Such direct description may come from a narrator, from another character, or through self-description by the character in question. For instance, imagine the following dialogue between two characters:

"That guy Sam seems nice." "Oh, no. Sam's the worst. He acts nice when you first meet him, but then he'll ask you for money and never return it, and eat all your food without any offering anything in return, and I once saw him throw a rock at a puppy. Thank God he missed."

Here the second speaker is directly characterizing Sam as being selfish and cruel. Direct characterization is also sometimes called "explicit characterization."

Indirect Characterization

In indirect characterization, rather than explicitly describe a character's qualities, an author shows the character as he or she moves through the world, allowing the reader to infer the character's qualities from his or her behavior. Details that might contribute to the indirect characterization of a character are:

• The character's thoughts.
• The character's actions.
• What a character says (their choice of words)
• How a character talks (their tone, dialect, and manner of speaking)
• The character's appearance
• The character's movements and mannerisms
• How the character interacts with others (and how others react to the character)

Indirect characterization is sometimes called "implicit characterization."

Indirect Characterization in Drama

It's worth noting that indirect characterization has an additional layer in any art form that involves actors, including film, theater, and television. Actors don't just say the words on the script. They make choices about how to say those words, how to move their own bodies and in relation to other character. In other words, actors make choices about how to communicate all sorts of indirect details. As a result, different actors can portray the same characters in vastly different ways.

For instance, compare the way that the the actor Alan Bates plays King Claudius in this play-within-a-play scene from the 1990 movie of Hamlet, versus how Patrick Stewart plays the role in the same scene from a 2010 version. While Bates plays the scene with growing alarm and an outburst of terror that reveals his guilt, Stewart plays his Claudius as ice cold and offended, but by no means tricked by Hamlet's little play-within-a-play into revealing anything.

Round and Flat Characters

Characters are often described as being either round or flat.

• Round characters : Are complex, realistic, unique characters.
• Flat characters : Are one-dimensional characters, with a single overarching trait and otherwise limited personality or individuality.

Whether a character is round or flat depends on their characterization. In some cases, an author may purposely create flat characters, particularly if those characters will appear only briefly and only for a specific purpose. A bully who appears in a single scene of a television show, for instance, might never get or need more characterization than the fact that they act like a bully.

But other times authors may create flat characters unintentionally when round characters were necessary, and such characters can render a narrative dull, tensionless, and unrealistic.

Character Archetypes

Some types of characters appear so often in narratives that they come to seen as archetypes —an original, universal model of which each particular instance is a kind of copy. The idea of the archetype was first proposed by the psychologist Carl Jung, who proposed that there were twelve fundamental "patterns" that define the human psyche. He defined these twelve archetypes as the:

While many have disagreed with the idea that any such twelve patterns actually psychologically define people, the idea of archetypes does hold a lot of sway among both those who develop and analyze fictional characters. In fact, another way to define round and flat character is to think about them as they relate to archetypes:

• Flat characters are easy to define by a single archetype, and they do not have unique personal backgrounds, traits, or psychology that differentiates them from that archetype in a meaningful way.
• Round characters may have primary aspects that fit with a certain archetype, but they also may be the combination of several archetypes and also have unique personal backgrounds, behaviors, and psychologies that make them seem like individuals even as they may be identifiable as belonging to certain archetypes.

Good characterization often doesn't involve an effort to avoid archetype altogether—archetypes are archetypes, after all, because over human history they've proved to be excellent subjects for stories. But successful authors will find ways to make their characters not just archetypes. They might do so by playing with or subverting archetypes in order to create characters who are unexpected or new, or more generally create characters whose characterization makes them feel so unique and individual that their archetype feels more like a framework or background rather than the entirety of who that character is.

Characterization Examples

The characters of nearly every story—whether in literature, film, or any other narrative—have some characterization. Here are some examples of different types of characterization.

Characterization in Hamlet

The famous literary critic Harold Bloom has argued in his book The Invention of the Human that "Personality, in our sense, is a Shakespearean invention." Whether or not you agree with that, there's no doubting that Shakespeare was a master of characterization. One way he achieved such characterization was through his characters delivering soliloquies . The excerpt of a soliloquy below is from Hamlet , in which Hamlet considers suicide:

To be, or not to be? That is the question— Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And, by opposing, end them? To die, to sleep— No more—and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to—’tis a consummation Devoutly to be wished! To die, to sleep. To sleep, perchance to dream—ay, there’s the rub, For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause.

Hamlet's soliloquy is not simply him saying what he thinks. As he delivers the soliloquy, he discovers what he thinks. When he says "To die, to sleep. To sleep," he is all-in on the idea that suicide is the right course. His words "perchance to dream" flow directly out of his thoughts about death as being like "sleep." And with his positive thoughts of death as sleep, when he first says "perchance to dream" he's thinking about having good dreams. But as he says the words he realizes they are deeper than he originally thought, because in that moment he realizes that he doesn't actually know what sort of dreams he might experience in death—they might be terrible, never-ending nightmares. And suddenly the flow of his logic leaves him stuck.

In showing a character experiencing his own thoughts the way that real people experience their thoughts, not as a smooth flow but as ideas that spark new and different and unexpected ideas, Shakespeare gives Hamlet a powerful humanity as a character. By giving Hamlet a soliloquy on the possible joy of suicide he further captures Hamlet's current misery and melancholy. And in showing how much attention Hamlet pays to the detail of his logic, he captures Hamlet's rather obsessive nature. In other words, in just these 13 lines Shakespeare achieves a great deal of characterization.

Characterization in The Duchess of Malfi

In his play the The Duchess of Malfi , John Webster includes an excellent example of direct characterization. In this speech, the character Antonio tells his friend about Duke Ferdinand:

The Duke there? A most perverse and turbulent nature; What appears in him mirth is merely outside. If he laugh heartily, it is to laugh All honesty out of fashion. … He speaks with others' tongues, and hears men's suits With others' ears; will seem to sleep o’th' bench Only to entrap offenders in their answers; Dooms men to death by information, Rewards by hearsay.

Ferdinand directly describes the Duke as deceitful, perverse, and wild, and as a kind of hollow person who only ever laughs for show. It is a devastating description, and one that turns out to be largely accurate.

Characterization in The Great Gatsby

Here's another example of direct characterization, this time from The Great Gatsby . Here, Nick Carraway, the narrator of the novel, describes Tom and Daisy Buchanan near the end of the novel.

They were careless people, Tom and Daisy—they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made.

But The Great Gatsby, like essentially all other literature, doesn't solely rely on direct characterization. Here is Nick, earlier in the novel, describing Gatsby:

He stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward—and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock.

This is an example of indirect characterization. Nick isn't describing Gatsby character directly, instead he's describing how Gatsby is behaving, what Gatsby is doing. But that physical description—Gatsby reaching out with trembling arms toward a distant and mysterious green light—communicates fundamental aspects of Gatsby's character: his overwhelming yearning and desire, and perhaps also the fragility inherent such yearning.

Why Do Writers Use Characterization?

Characterization is a crucial aspect of any narrative literature, for the simple reason that complex, interesting characters are vital to narrative literature. Writers therefore use the techniques of characterization to develop and describe characters':

• Motivations
• History and background
• Interests and desires
• Skills and talents
• Self-conception, quirks, and neuroses

Such characteristics in turn make characters seem realistic and also help to drive the action of the plot, as a plot is often defined by the clash of actions and desires of its various characters.

Other Helpful Characterization Resources

• Wikipedia entry on characterization: A brief but thorough entry.
• Archetypal characters: The website TV tropes has built a vast compendium of different archetypal characters that appear in film and television (and by extension to books).
• Encyclopedia Britannica on characters: A short entry on flat and round characters.

• Flat Character
• Round Character
• Verbal Irony
• Foreshadowing
• Dynamic Character
• Blank Verse
• Figurative Language
• Antanaclasis
• Rhetorical Question
• Slant Rhyme
• Parallelism

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