Characterization, a synonym for character development, refers to creating a fictional character in literature. It is an essential part of writing fiction and helps readers understand the characters better. It is done in two different ways: direct and indirect. This article will detail direct characterization.
What is a Direct Characterization?
Direct characterization is defined as an explicit description of a character’s traits in a story. Therefore, it is also called explicit characterization. It occurs while introducing the character for the first time in a story is done by the use of descriptive adjectives, phrases, or epithets rather than in an objective manner. These descriptions are also directly tied to the character’s feelings and motivations.
For example:
Molly was a gorgeous young woman who enjoyed baking and long walks.
Here, the writer describes Molly as beautiful; they list out her hobbies, which include baking and going for long walks. They are describing Molly’s physical features and traits.
Direct characterization is not about stating the adjectives directly. For example, instead of saying “Sarah was tall,” a direct characterization of Sarah might say “Sarah stretched her long limbs out as far as they could go.” This additional information helps readers learn more about the characters and connect with them.
Direct characterization can include a character’s physical description, such as
- Looks
- Attire
- Mannerisms
It can also include the details of a character’s inner world, such as
- Hobbies
- Desires and needs
- Fears
Modern storytelling usually emphasizes characterization more than classical literature as characterization is a major tool in a plot-driven narrative. Authors have relied on both direct and indirect characterization for centuries. They even use this literary device to map their characters’ journeys within the plot. The following section lists some popular examples of its use within the literary world.
Direct Characterization Examples from Literature
In Stevenson’s classic, The Strange Case of Dr. Jekyll and Mr. Hyde, direct characterization is observed when Stevenson describes Dr. Jekyll as
“A large, well-made, smooth-faced man of fifty, with something of a stylish cast perhaps, but every mark of capacity and kindness.”
In Ray Bradbury’s Fahrenheit 451, Montag is a third-generation fireman. Ray describes him as
“Black hair, black brows…fiery face, and…blue-steel shaved but unshaved look.”
This is direct characterization, and readers can grasp Montag’s personality instantly.
In a novel, the narration could also be used for direct characterization, but in a play, it is done through speeches. Shakespeare used both direct and indirect characterization in his works.
Direct characterization of Romeo can be observed in the opening scene of Romeo and Juliet when Lady Montague says of her son:
“Away from light steals my heavy son.”
This indicates that Romeo is unhappy.
Another example of direct characterization is when Romeo discusses Mercutio’s love of himself with the Nurse:
“A gentleman, nurse, that loves to hear himself talk, / and will speak more in a minute than he will stand / to in a month.”
Direct characterization is also observed when Mercutio describes his adversary Tybalt as tough, courageous, and a perfect fighter. He repeatedly calls Tybalt “Prince of Cats” referring to his expertise with the sword.
In F. Scott Fitzgerald’s The Great Gatsby, many characters such as Gatsby, Daisy, and Tom Buchanan are directly characterized at their first introduction to the readers. Jay Gatsby is introduced to the readers through Nick Carraway at one of Gatsby’s parties. Nick describes Gatsby’s understanding smile as follows:
“He smiled understandingly-much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that may come across four or five times in life.”
In addition to this, Nick describes Gatsby as about 31–32 years old and the ”elaborate formality” in his speech.
John Steinbeck’s Of Mice and Men has both direct and indirect characterization. The character of Lennie is described as being bear-like, which is evident in the following quote:
“Behind him walked his opposite, a huge man, shapeless of face, with large, pale eyes, and wide, sloping shoulders; he walked heavily, dragging his feet a little, the way a bear drags his paws.”
Another main character from the book, George, is described as a sharp, small man with distinctive features and restless eyes.
Indirect characterization is also heavily used by various authors but differs in style and presentation. The following section will point out these differences.
Direct vs. Indirect Characterization
Direct characterization is, as the name suggests, the direct description of character traits, whereas indirect characterization involves an author leaving personality clues in characters’ thoughts, actions, and dialogues. It is a more subtle approach than the direct one, encourages active engagement, and fosters a deeper understanding of the character. Direct characterization offers character information directly to the readers, whereas indirect characterization demands interpretation from them. Here is an example of direct characterization:
Jonah was very sad when she entered the kitchen.
The same character trait if described by the method of indirect characterization, it would be:
Jonah walked into the kitchen, barely registering the guests. She poured herself some coffee and sat in the chair, gently stirring the liquid. She hardly made any eye contact and didn’t participate in small talk. She tried smiling but her lips trembled when she did.
By strategically employing both types of characterization techniques, authors create well-rounded characters.
Tips on How to Use Direct Characterization
Effective and skillful direct characterization harmonizes with a story’s plot and setting. But if the characterization isn’t done properly, it can reveal a character too soon to the readers. Below are some pointers for using direct characterization correctly:
- Spare usage: Use direct characterization sparingly. Avoid a list of physical traits, as this would prevent readers from envisioning characters accurately. Keep it just enough.
- Creativity: Look for creative and novel ways to include character attributes. Many readers lose interest while reading cliched ways of attribution.
- Accord of emotions: Descriptions do well with readers if they are in sync with the character’s emotions. A character’s thoughts, feelings, and decisions must be connected with their physical descriptions, attire, and interests.
- Organic: Note attributes only when they come up organically, within the context of the story. Describe traits when they are genuine during a character’s observation process.
