Direct vs Indirect Characterisation: A Complete Guide For Writers (With Examples & Exercises)

Characterisation is the centre of compelling storytelling. It’s how writers bring fictional characters to life, unveiling who they are, what they believe, and how they evolve. Whether you’re writing a work of fiction, a short story, or a screenplay, your characters are what readers connect to – and how you choose to reveal them makes all the difference. There are two primary methods of characterisation: direct and indirect. Direct characterisation tells the reader exactly what a character is like – for example, “Josh was angry and frustrated.” Indirect characterisation shows the character’s traits through actions, dialogue, and other clues – like Josh snarling or grumbling to himself. Both approaches have their own merits. But have you ever wondered what the difference between direct and indirect characterisation is? Join us at What We Writing as we reveal all with our complete guide to direct vs indirect characterisation in writing, featuring examples and exercises to help you practice both. 

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What Is Characterisation? 

Characterisation is the description of a character’s physical traits (how a character looks), their point of view, characteristics, thoughts, and actions. Characterisation in fictitious writing can be split into two distinct categories: 

• Indirect characterisation 
• Direct characterisation 

Both indirect and direct characterisation work together to paint a complete picture of your character for your audience. Remember that characters, like people, are imperfect. They don’t always need to be likable, but they definitely need to be compelling. 

What Is Direct Characterisation?

Direct characterisation is when a writer plainly tells the reader what a character is like, without requiring any sort of interpretation. It’s a straightforward way of conveying traits, motives, or appearances. You don’t need to guess what the character is feeling or who they are – the narration does all the heavy lifting for you. 

Definition 

Direct characterisation occurs when the narrator or another character explicitly describes a character. It’s typically used to establish someone’s personality, appearance, or role within a story with clarity and efficiency. 

Example: “She was a cruel woman, with little patience for emotions.” 

Here, there’s zero room for ambiguity – we know exactly who the character is, and how we’re meant to view them. 

Direct Characterisation Examples 

• “Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice.” – Jane Austen, Pride and Prejudice
• “He was the sort of man who brightened up any room he walked into.” 
• “Tom was lazy but charming, always finding a way out of hard work.” 

These statements all reveal personality in a single stroke, giving readers a clear mental image. 

What Is Indirect Characterisation? 

Indirect characterisation is the process of describing a character through that character’s thoughts, actions, speech, and dialogue. An author will lean on this type of characterisation to guide the reader through making their own conclusions about a character.

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Check Out Our Guide On How To Write Dialogue

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Indirect Characterisation Examples 

Indirect characterisation is one of the most effective ways for writers to describe characters. It’s often what’s unsaid that conjures a more vivid picture in the reader’s mind. 

1. Anne in Anne of Green Gables by L.M. Montgomery 

“My life is a perfect graveyard of buried hopes.” 

In this quote, Montgomery introduces a character who has a complex and creative imagination, is exceptionally curious, and awestruck by the world around them, but who also comes with a sordid past and emotional trauma lying beneath the surface. 

2. Atticus in To Kill a Mockingbird by Harper Lee

“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 up high and keep those fists down. No matter what anybody says to you, don’t you let ‘em get your goat.” 

Here, Atticus is speaking to Scout about an upcoming, controversial trial. The reader is able to work out that, through this interaction, Atticus is trying to instil in Scout that a person should always fight for what they believe in, regardless of other consequences. 

Through this passage, we are given an insight into Atticus’ strong moral compass and the sort of morals he wants to pass on to his children. 

Advantages Of Using Indirect Characterisation 

Sprinkling indirect characterisation into your writing is an effective way of conveying those unspoken thoughts and traits that convey the true essence of a person. However, you have to ensure you’re guiding your reader’s experience; the last thing you want is for them to miss important clues you drop in via indirect characterisation. 

Humanises a Character

By revealing a character’s thoughts, emotions, and worldview in various contexts, you provide your reader with a concrete understanding of exactly who your characters are. 

Showing, Not Telling 

For example, you could write your character as being “happy,” or show them frolicking through a meadow of flowers. Both convey the same message, but the first method of direct characterisation is far less subtle than the second method featuring indirect characterisation. 

Sparking Imagination 

As an author, you are responsible for leading your reader through the story. By weaving indirect characterisation throughout your narrative, you provide the audience with the opportunity to draw their own conclusions and make their own discoveries, which makes for a more fulfilling and compelling experience. 

Direct And Indirect Characterisation Differences 

Understanding the difference between indirect and direct characterisation can help you determine which one is better suited to your story. 

• Indirect characterisation describes a character through their actions, thoughts, speech, and dialogue. 
• Direct characterisation, or explicit characterisation, describes the character through their physical description, their line of work, or their passions or goals. 

Whilst readers will naturally come to their own conclusions, they may draw conclusions that wildly differ from your intention if you don’t have enough clues throughout your manuscript. This isn’t always a bad thing – readers from different backgrounds and experiences bring different feelings to your story. 

However, if you lean too heavily on indirect characterisation for major plot points and the audience misses out on these clues, they may not get the sort of experience you were hoping for. 

Direct Characterisation	Indirect Characterisation
Tells the reader exactly what the character is like	Shows the character’s traits through behaviour, dialogue, or reactions
Example: “Sam was aloof and unavailable.”	Example: “Sam turned his back without checking if I was okay.”
Quick and clear	Subtle and immersive
Typically used in narration or exposition	Often used in scenes and action
Good for minor characters or quick setup	Better for complex, evolving character arcs
Can feel flat or simplistic if overused	Can feel vague or slow-paced if not balanced well
Common in fables, children’s books, and summaries	Common in literary fiction, screenwriting, and contemporary novels

Pro tip: Use direct characterisation to set the stage or establish the facts, and indirect characterisation to develop emotional depth and complexity. Think of it as the difference between introducing someone and getting to know them. 

Mistakes To Avoid When Using Characterisation

Characterisation is a powerful tool. But when used poorly, it can confuse readers, flatten characters, or disconnect them from your story’s deeper meaning. Here are some of the most common mistakes to be mindful of (and how you can fix them):

Over-Relying on Telling (Direct Characterisation) 

It can be tempting to just let the audience know who a character is, particularly when you’re trying to get through a draft quickly. However, too much direct characterisation can feel flat or overly simplistic. If every character is described in a single sentence, readers miss out on the chance to experience those traits through the story. 

Fix: Use direct characterisation for clarity or quick introductions, but follow it up with scenes that show the trait in effect. Let the readers see the bravery or fear, not just be told that it’s there. 

Making Indirect Scenes too Vague 

On the flip side, some writers drift too far into showing and wind up being so subtle that readers are unable to tell what the character is actually supposed to be like. If readers are left confused about a character’s motivations or traits, indirect characterisation might be too opaque. 

Fix: Use clear context. Anchor actions and dialogue with emotions or reactions that guide the reader’s interpretations. You can hint, but don’t become so subtle that it ends up being guesswork. 

Confusing Traits with Actions 

Writers can sometimes assume that if a character does something once, it defines who they are forever. But actions taken out of context don’t always reveal lasting traits. A kind character could lash out in anger, and a confident character might still have moments of self-doubt. 

Fix: Show patterns over time. Let traits emerge across multiple scenes, and support them with consistent internal and external motivation. 

Not Using Characterisation to Support Theme or Plot 

Characterisation isn’t just about building interesting people – it should serve the story’s larger purpose. If your characters feel disconnected from the themes or don’t evolve in the ways that reflect the plot’s take, your characterisation could be underdeveloped. 

Fix: Ask: “What does this character’s journey say about the story’s message?” Allow their traits to influence vital plot points and evolve in tandem with the narrative. 

Lack of Consistency

A character who is constantly changing without any reason – or behaves in a way that contradicts earlier scenes with no explanation – can break a reader’s trust. Consistency doesn’t mean being static, but it does mean that the change should feel earned. 

Fix: Ensure your characters evolve in believable ways. If they change their mind or act out of character, give the audience a reason through emotional stakes or turning points. 

Bottom line: Characterisation works best when it’s intentional, layered, and connected to your story’s heart. Avoid these common mistakes, and your characters will soon feel real enough to begin walking off your pages! 

Wrap Up 

Direct and indirect characterisation are two sides of the same storytelling coin. One gives clarity, whereas the other offers depth and discovery. Used together, they allow writers to craft characters that are vivid and believable – the sorts of characters that feel like real people, rather than names on a page. 

As you write, experiment with both techniques. Use direct characterisation to ground your readers quickly, and allow indirect characterisation to reveal complexity over time. Like any skill, it gets sharper the more you practice! 

We’d love to hear from you now: 

Have you struggled with showing vs. telling? 

Do you have a favourite example of great characterisation in a book or show? 

Share your thoughts – or even your own short exercise – in the comments section below!