a-taupe-fox

[a-taupe-fox]

It really is crazy how if you mention you write fanfiction with people outside fandom, they're always like "you should change the names and try to sell it." It misses the point (fun), but more importantly to me, I get slightly (and I know irrationally) insulted on a craft level. Excuse me, my fanfic is entwined with the canon, thank you very much. I wish sometimes less entwined. You wouldn't believe the stupid bullshit some of my fics have to include because of canon.

[a-taupe-fox]

I love when you find an author who just has a good flavor to their writing. It could be the way they handle characters, the way they use certain tropes or themes, even the specific lilt of their words. Its familiar and comforting and carries across different stories, like coming back to a place of comfort and recognizing the furniture.

[a-taupe-fox]

Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

[a-taupe-fox]

do you ever draw something for yourself that’s so deliciously self-indulgent that you just sit there like

[Image ID: 2 digital drawings of a short-haired person drawing on a tablet. In the first image they are looking at the screen and blushing pink. In the second image they are looking away from the screen and blushing more heavily, with the caption “…is this allowed?”. End ID]

[a-taupe-fox]

too much monogamy in fandom in general

[a-taupe-fox]

I do the opposite of gatekeeping, I’m not going to shut up until you like this thing as much as I do

[a-taupe-fox]

big fan of stories that, while undoubtedly being about the power of friendship, acknowledge that the power of incredible violence is just as important

the love was there. the love changed everything. the crowbar helped also

[a-taupe-fox]

I think the other reason I don't really get into ships as portrayed by fandom culture is that it seems like the mindset is more like. "I want these characters to be in a Romantic Relationship(TM)" instead of "I want these characters' relationship to be romantic"

What I mean here is that, so often I see pairings enacting romance tropes to the point of heavily altering or downright replacing their original dynamic - as if the people behind it only understand romance as a series of checklists to tick off. Couples like to kiss and sleep in the same bed and flirt with each other, so it doesn't matter who the characters are, if they're a couple then naturally they'll do those things, right??

And that's where the whole thing starts to lose me, because I would assume that the appeal of shipping characters is, y'know... the characters? Rather than just, the idea of a couple? If I'm thinking about how it'd be cool for them to be in love, my first thought is always "so how would they show it," because just like everything else about a person, the answer is going to be different on a case-by-case basis.

Maybe the characters involved aren't really into kissing, but they like arranging date activities. Maybe they aren't committed to the structure of dating at all, and just want to be around each other whenever they can. And even if they are the types to like doing traditionally romantic things, that doesn't suddenly erase whatever else they had going on before they started adding that on top of it.

I'm not saying that the more typical romance tropes and activities are bad, just that they're applied kind of excessively, regardless of whether or not they actually work for the characters involved. I want to see my favorite characters having relationships that are true to who they are, not what the stock depiction of a couple says they should be.

[a-taupe-fox]

characters apologizing for things they have no control over. mumbling sorry while losing consciousness. feeling ashamed of a bleeding wound. embarrassed when an infection sets in. deep seated feverish guilt when they need to be carried, when their legs won't keep them upright anymore and they lean heavy on a friend, slurring apologies..........

[a-taupe-fox]

"A society that separates its lore masters from its horny posters will have its headcanons written by prudes and its erotic fanfic by fools."

[a-taupe-fox]

honestly sometimes stories where characters have self awareness and solve their problems maturely can be really refreshing sometimes. and sometimes it feels like therapyspeak slop. intense stories where no one is capable of understanding themselves and act out in incorrect ways can be very fun. and sometimes it feels like contrived bullshit. whatever makes "a good story" is harder to make happen than just using the right kind of characters using the right words

[a-taupe-fox]

i love putting the character in situations that leave them in low places, strip them to their cores, and make them re-examine everything. very enriching for me and them

[a-taupe-fox]

my fave writing reminder

honestly, this phrase has been on my mind more times than i can count. i've kidnapped it, taken it as a hostage with no ransom money because i need it to live permanently in my head.

[a-taupe-fox]

I’m using ao3 the way god intended: via 36 open semi-abandoned tabs on my phone at 2 AM the night before work

[a-taupe-fox]

[a-taupe-fox]

fanfic writing culture isn’t “oh dang! I wanted to write about this prompt with this character but someone else already wrote it, so now I can’t”.

fanfic writing culture is always “two cakes is better than one. the more the merrier. there can ever be enough fics of this character with this prompt!”

[a-taupe-fox]

i wish i could remember who made the recommendation to "make a list of all the different ways someone could feel about a topic in your fictional setting and then make each of them a character" because it is a great technique and is also extremely fun