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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.

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Ophelia (2018) // November Nights, Arden Mae // House of the Dragon (2022-) // Persephone Returns, Emily Rose Cole // Ophelia, Friedrich Wilhelm Theodor Heyser // Mystery of Love, Sufjan Stevens // Fire with Fire (1986) // Spring and All, Cathy Park Hong // On-drakón (2015) // The Complex Sentence, Tony Hoagland // The Musketeers (2014-2016) // [from a letter], Sylvia Plath // 1883 (2021-22) // The Leaving Season, Jihyun Yun // Dorian Gray (2009) // The Lady of Shalott, Alfred Tennyson // Anne of Green Gables (1985) // Advantages of Being Evergreen, Oliver Baez Bendorf // Ophelia, John Everett Millais // Hamlet, William Shakespeare // Melancholia (2011) // Wild Geese, Mary Oliver // Revenge of the Sith (2005) // Summer Morning, Mary Oliver

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Tulu Xuanwu is about to call the police, you shameless gays in denial!! ><"

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Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light, and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery — celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: ‘It’s not where you take things from — it’s where you take them to.’ 

Jim Jarmusch, Five Golden Rules of Cinema

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Piranesi fan art

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Eve, 1927 by Dorothy Webster Hawksley (English, 1884–1970)  

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the most normal girls in the world …<3

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rating all the things lymond calls will scott by how gay and sassy they sound

let me take you on a journey of one relationship development reflected in manifold creative nicknames :D

(this got very long and the one to blame is lymond. it’s definitely him who can’t shut up, not me. bc succinctness is my middle name🙈)

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Repeat after me:

Good rest is required for creativity

I am allowed to rest in order to restore and rejuvenate my creative well

I am not lazy for resting

My WIP will benefit from the rest I give myself and my creativity

My writing requires rest just as much as I do in order to flourish

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ever use monsters to work out your complicated feelings toward romance? yeah, me neither...

happy valentine's 🫀🌿

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I wouldn’t even pay to see my own content

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me, reading all of this, absolutely losing my shit about it:

and then it just has to go and

that’s it! I’m on the floor! I’m down on the floor dissolving into a puddle of tears about the main antagonist of this 2000 page novel and about cycles and breaking cycles and Xie Lian’s kindness and Xie Lian passing on the kindness that was given to him in his lowest moment to his greatest tormentor and–

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truly impressive how wei wuxian can say this with a straight face in this moment

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this is seriously the most beautiful artwork for comics I've seen in my life

ETA: official Bilibili link

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cw blood

vessel