Direct and Indirect Characterisation

Characterisation is the sum of all the observable qualities, a combination that makes your character unique: from their physical appearance coupled with mannerisms, to their style of speech and gestures, sexuality, age, IQ, occupation, personality, attitudes, values, place of residence and how they live in their environment.

When creating or constructing a fictional character, the two main ways to portray them to your readers are through direct and indirect characterisation - these align with the “show don’t tell” rule in storytelling.

Direct characterisation is a useful way for you to introduce a character, provide immediate insight into them, or convey crucial details that you want to establish early on. Direct characterisation is an example of “telling”, as you are stating facts about your characters that leave no room for ambiguity or interpretation.

Here’s an example of direct characterisation when Harry is introduced in Harry Potter and the the Philosopher’s Stone by J.K. Rowling:

“Perhaps it had something to do with living in a dark cupboard, but Harry had always been small and skinny for his age. He looked even smaller and skinnier than he really was because all he had to wear were old clothes of Dudley’s and Dudley was about four times bigger than he was. Harry had a thin face, knobbly knees, black hair and bright-green eyes. He wore round glasses held together with a lot of Sellotape because of all the times Dudley had punched him on the nose. The only thing Harry liked about his own appearance was a very thin scar on his forehead which was shaped like a bolt of lightning.”

Indirect characterisation is much more subtle in revealing a character’s true nature in an unspoken way, helping to create well-rounded, dynamic characters in your writing. Indirect characterisation is generally conveyed through a character’s speech, thoughts and actions, their image, and how they interact with others and their environment.

For example, in Harry Potter and the Half-Blood Prince, J.K. Rowling uses Harry's physical reactions – “something large and scaly erupted into life in Harry's stomach, clawing at his insides: Hot blood seemed to flood his brain” – to show his jealousy and anger towards Ginny's boyfriend, Dean, without directly saying he is jealous.

Another example may be, instead of telling the reader that your character is “obsessive compulsive”, you could show your character making sure their front door is locked three times before leaving home. Both convey the same message; however, often what’s left unsaid can create a more powerful image in the reader’s mind, allowing them to draw their own conclusions or inferences as to the traits, essence, or motivations of a character.