Top 49 Character Description Quotes
#1. If you go for an audition, you have a character description, and for the women, it's always about being beautiful, sexy. And for the men it's more about the character than how he appears physically. That annoys me.
Birgitte Hjort Sorensen
#2. I love playing characters, so I'm always telling my agents, 'Don't worry if the character description is something you think I'm not. Let me try to be that person.'
Vanessa Lengies
#3. I really like 'This Side of Paradise' by F. Scott Fitzgerald. I think it's a cool description of a character.
Bridgit Mendler
#4. Peter was a gentle, red-haired bear of a man. Standing at six-four in his socks, he moved everywhere with a slight and nautical sway, but even though he was broad across the chest there was something centered and reassuring about him, like an old ship's mast cut from a single timber.
Graham Joyce
#5. If you're not who you want to be, at least act like who you want it be. - Bud
Charles Frazier
#6. I think 'vegan' is a beautiful word. It is more than just a description for our diet. I see it as a visible template for an ethical, healthy, responsible, and rational life. Because it describes our character, it says we do not take the life of another living being to satisfy our wants.
Philip Wollen
#8. Its almost as if he was raised by wolves, but wolves who knew the value of a decent education.
David Nicholls
#9. It's just I hate reading the description 'offbeat' about a character in a script, because I, along with Seth Green, Jamie Kennedy and a few others, have cornered the market on 'offbeat.'
Breckin Meyer
#10. When you look at a photo or realistic drawing of a face, you see it as the face of another . But when you enter the world of the cartoon , you see yourself.
Scott McCloud
#11. He ... boasted an unassuming mustache, which was perched atop his upper lip cautiously, as though it were slightly embarrassed to be there and would like to slide away and become a sideburn or something more fashionable.
Gail Carriger
#12. He had his head in hand hands, and his tie looked like it had been put on by an enemy, and was strangling him.
Caitlin Moran
#13. Nature forgot to shade him off, I think ... A little too boisterous
like the sea. A little too
vehement
like a bull who has made up his mind to consider every
colour scarlet. But I grant a sledge-hammering sort of merit in him!
Charles Dickens
#14. Her face was not young, but it was simple; it was not fresh, but it was mild. She had large eyes which were not bright, and a great deal of hair which was not 'dressed,' and long fine hands which were
possibly
not clean.
Henry James
#15. Good fiction is trawling back into the past and digging up the real characters who've influenced your entire being.
Ken Scott
#16. Standing at the original Victorian counter was a man in a long black leather coat. His hair had been grown to counteract its unequivocal retreat from the top of his head, and was fashioned into a mean, frail ponytail that hung limply down his back. Blooms of acne highlighted his vampire-white skin.
Julia Stuart
#17. If one abandons their principles when tested by struggle, they were never true principles but advertisements for character they never possessed.
Tiffany Madison
#18. The uncle and cousin seem nice, but the aunt is a bit of a shock. Whith her hair dyed bright red, she looks like Ronald McDonald's post-menopausal sister. Who has let herself go.
Brian Malloy
#19. They were handy to have around, Nate's little gang. They were that wonderful combination of talented and noble. The former was useful, while the latter made it so incredibly easy to poke them with a metaphorical stick.
Keith R.A. DeCandido
#20. The kind of person took milk in his tea on one day and decided against it on the next.
Anne Enright
#21. Once Addie let someone in, she was impossible to forget. There was something about her that crawled inside a person and built a nice comfy home there, her goodness expanding until it filled every limb.
Kasie West
#22. I heard the opening bar of 'Help' as I headed down Polk Street. Every single time I've heard that tune I've taken it as some message from God, a warning of things to come, a perfect description of my mashed-potato character
Oscar Zeta Acosta
#23. She drinks pints of coffee and writes little observations and ideas for stories with her best fountain pen on the linen-white pages of expensive notebooks. Sometimes, when it's going badly, she wonders if what she believes to be a love of the written word is really just a fetish for stationery.
David Nicholls
#24. Simon Sparks was an oozing slug of a man poured neatly into a three-piece suit.
C. Robert Cargill
#25. [H]e looked like a real bruiser as he stepped from his car, his big sunglasses giving the impression that a large bug had evolved to the point that it could wear a suit.
John Connolly
#26. Ian stepped out to where he knew I could clearly see and identify his tall, dark, and dangerous self.
Lisa Shearin
#27. One line of dialogue that rings true reveals character in a way that pages of description can't.
Anne Lamott
#29. The only talents he possessed were delusions of adequacy.
Jodi Taylor
#30. No one will be alive by the last book. In fact, they all die in the fifth. The sixth book will be just a thousand-page description of snow blowing across the graves ...
George R R Martin
#31. A hound it was, an enormous coal-black hound, but not such a hound as mortal eyes have ever seen.
Arthur Conan Doyle
#32. Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character.
Janet Fitch
#33. Character is what we do when no one else is watching"
~R. Alan Woods [2012]
R. Alan Woods
#34. Pace, like everything else in writing, involves a trade-off. If you're not offering the reader a lot of action to keep her interested, you must offer something else in its stead. Slow pace is ideal for complex character development, detailed description, and nuances of style.
Nancy Kress
#35. If I don't have a project going, I sit down and begin to write something - a character sketch, a monologue, a description of some sight, or even just a list of ideas.
Thomas Perry
#36. Dr. Wintermute beheld Mrs. Pinchbeck befeathered, beribboned, crinolined, corseted, frizzled, and festooned, though not wasted.
Laura Amy Schlitz
#37. He was in his mid-thirties, tall and pale and thin, with long, sandy hair and rimless glasses, dressed in brown polyester pants, cheap brown shoes, and a light tan shirt. He looked like someone had put a wig on a giraffe and run it through the local Target.
John Connolly
#38. A precocious mistress of the long look, the sustained smile, the private voice and the delicate touch, devices of generations
F Scott Fitzgerald
#39. When certain persons abuse us, let us ask ourselves what description of characters it is that they admire; we shall often find this a very consolatory question.
Charles Caleb Colton
#40. There are moments of sincerity. Those moments float away like bubbles but he takes the trouble to dip the wand in the soap and blow them through.
Carole Radziwill
#41. His crimped hair was subtly frosted, making him look like a preacher in some California church - the kind with acoustic guitars and headset microphones and not much use for the actual Bible.
John Wray
#42. She had her own way of doing all that she did, and this is the simplest description of a character which, although by no means without liberal motions, rarely succeeded in giving an impression of suavity.
Henry James
#43. Screenplays are not writing. They're a fake form of writing. It's a lot of dialogue and very little atmosphere. Very little description. Very little character work. It's very dangerous. You'll never learn to write.
Ray Bradbury
#44. I don't remember her. But she feels special. There's this hole in my heart every time I draw her; you know, a sick sort of feeling. Like she's someone I lost.
C. Robert Cargill
#45. Phyllida's hair was where her power resided. It was expensively set into a smooth dome, like a band shell for the presentation of that long-running act, her face.
Jeffrey Eugenides
#46. Earle had friendly written all over him the way that a plague rat had "Hug Me" emblazoned on its fur.
John Connolly
#47. Conflict is the microscope of a book. When it's trained on a character, you see what's underneath the narratives of physical description. You see whether someone is strong or weak, principled or apathetic, heroic or villainous.
(J.R. on writing the BDB series)
J.R. Ward
#48. Not our logical faculty, but our imaginative one is king over us. I might say, priest and prophet to lead us to heaven-ward, or magician and wizard to lead us hellward.
Thomas Carlyle
#49. Character enough of an opposite description ... My opinion is ... that you could as soon scrub the blackamore white, as to change the principles of a profest Democrat; and that he will leave nothing unattempted to overturn the Government of this Country.
George Washington
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