Do Your Characters Make a Good Impression?

In Techniques of the Selling Writer, Dwight Swain suggests choosing a dominant impression for each character. It helps to have decided on this dominant impression before you introduce her (or at the very least before you start editing, if you're a seat-of-the-pants writer who doesn't know the characters too well before you start your rough draft).

If you keep your dominant impression in mind, you'll be able to figure out which details to focus on when introduce your character to readers.

You'll be able to modify—and deepen—that impression later, after you have a firm foundation to build on.

Here are some possible impressions you might want your characters to make. Some words overlap, meaning almost the same thing, but I kept them in because they generally have slightly different connotations that can help in deciding on exactly the impression you want to work towards.

Absent-minded
Adventurous
Affable
Affected
Affectionate
Afraid
Aggressive
Alluring
Aloof
Ambitious
Ambivalent
Amusing
Ancient
Angelic
Angry
Arrogant
Artistic
Athletic
Babyish
Bashful
Belligerent
Bizarre
Blunt
Boisterous
Bold
Boring
Bossy
Brave
Brazen
Brilliant
Brooding
Brutal
Bumbling
Busybody
Calm
Cantankerous
Capable
Carefree
Careful
Caring
Cautious
Caustic
Charismatic
Charming
Cheeky
Cheerful
Chilly
Clever
Clumsy
Coarse
Cold
Comical
Commanding
Compassionate
Conceited
Concerned
Confident
Confused
Conscientious
Considerate
Contemplative
Corrupt
Cosmopolitan
Courageous
Cowardly
Crabby
Crafty
Cranky
Crazed
Crazy
Creative
Creepy
Critical
Crude
Cruel
Cultured
Cunning
Curious
Cynical
Dainty
Dangerous
Daring
Dashing
Dauntless
Decent
Decisive
Defeated
Deliberate
Delicate
Demanding
Dependable
Depraved
Depressed
Deranged
Desperate
Destructive
Determined
Devious
Difficult
Dignified
Discouraged
Discreet
Disgusting

Dishonest
Disrespectful
Dissatisfied
Distressed
Disturbing
Domineering
Doubtful
Dutiful
Eager
Earthy
Easygoing
Eccentric
Edgy
Effervescent
Efficient
Elegant
Elitist
Eloquent
Encouraging
Endearing
Energetic
Enormous
Enterprising
Enthusiastic
Ethical
Exuberant
Evil
Exacting
Exasperated
Excited
Exhausted
Exotic
Experienced
Extravagant
Facetious
Fair
Faithful
Fanciful
Fascinating
Fearful
Fearless
Feminine
Fidgety
Fierce
Filthy
Finicky
Flamboyant
Flighty
Flirtatious
Foolish
Forceful
Foreign
Forlorn
Formal
Foul
Fragile
Frail
Frank
Frazzled
Friendly
Frightening
Frivolous
Frustrated
Fun
Funny
Furious
Gallant
Garrulous
Gawky
Geeky
Generous
Gentle
Giddy
Glamorous
Gloomy
Glum
Goody-goody
Goofy
Graceful
Grateful
Greedy
Gregarious
Gritty
Grouchy
Gruesome
Grumpy
Gullible
Handy
Happy
Hard
Hardworking
Hardy
Harried
Harsh
Hateful
Haughty
Heartless
Hearty
Helpful
Hilarious
Hip
Honourable

Hopeful
Honest
Hopeless
Hospitable
Hostile
Humble
Humorous
Hyperactive
Idealistic
Ignorant
Imaginative
Immaculate
Immature
Impartial
Impatient
Impolite
Important
Impudent
Impulsive
Indecisive
Independent
Innocent
Innovative
Influential
Insane
Insecure
Insensitive
Insipid
Insolent
Intelligent
Intense
Intimidating
Intrepid
Irresistible
Irritable
Jolly
Jovial
Judicious
Keen
Kind
Lackadaisical
Ladylike
Languid
Lazy
Light-hearted
Lively
Logical
Lonely
Loud
Lovable
Loving
Loyal
Majestic
Maladjusted
Malicious
Masculine
Materialistic
Mature
Mean
Meek
Melodramatic
Messy
Merciless
Methodical
Mild
Mischievous
Miserable
Miserly
Modest
Moody
Muddled
Mysterious
Naïve
Nasty
Natural
Neat
Neglected
Negligent
Nerdy
Nervous
Noisy
Obedient
Obnoxious
Obscene
Obsequious
Observant
Obsessive
Obstinate
Offensive
Opinionated
Optimistic
Orderly
Outrageous
Overbearing
Over-confident
Overpowering
Overworked
Passionate
Pathetic
Peaceful
Pensive
Perky

Persevering
Persistent
Perverse
Pessimistic
Petty
Petulant
Philosophical
Picky
Pitiful
Phony
Playful
Pleasant
Polite
Pompous
Popular
Powerful
Power hungry
Practical
Precise
Pretty
Prickly
Prim and proper
Principled
Proud
Prude
Pugnacious
Punctilious
Pure
Puzzled
Quarrelsome
Quick
Quiet
Quixotic
Radical
Rambunctious
Rash
Rational
Reasonable
Realistic
Rebel
Reckless
Refined
Reliable
Religious
Repulsive
Reserved
Respectable
Respectful
Responsible
Restless
Retiring
Revolutionary
Ridiculous
Risk-taking
Romantic
Rough
Rowdy
Sad
Saintly
Sappy
Sarcastic
Sardonic
Saucy
Scared
Scary
Scornful
Scrupulous
Secretive
Sedate
Seductive
Seedy
Self-aware
Self-centered
Selfish
Self-reliant
Self-satisfied
Sensitive
Sensual
Serious
Sexy
Shabby
Shallow
Shameless
Shifty
Shocking
Shrewd
Shy
Silent
Silly
Sincere
Sinister
Skillful
Slimy
Slippery
Sloppy
Slothful
Slovenly
Sluggish
Sly
Smart
Smooth

Sneaky
Smug
Snobby
Sociable
Soft
Solemn
Sophisticated
Sorrowful
Spiritual
Spontaneous
Sporty
Spunky
Steady
Stingy
Stolid
Strained
Strange
Strict
Strong
Stubborn
Studious
Stupid
Stylish
Suave
Sullen
Supercilious
Superstitious
Surly
Suspicious
Sweet
Sympathetic
Taciturn
Tactful
Talented
Talkative
Tasteful
Temperamental
Tenacious
Tender
Tense
Terrified
Thankful
Thick-skinned
Thin-skinned
Thoughtful
Thoughtless
Thrifty
Tidy
Timid
Tired
Tolerant
Touchy
Tough
Trendy
Trusting
Trustworthy
Truthful
Twisted
Uncaring
Uncertain
Uncontrolled
Unconventional
Uncouth
Unhappy
Unhealthy
Uninformed
Unruly
Unscrupulous
Unselfish
Unsophisticated
Unusual
Upset
Urbane
Vain
Valiant
Vengeful
Versatile
Vicious
Vigorous
Violent
Virile
Virtuous
Visionary
Vivacious
Volatile
Vulgar
Vulnerable
Wacky
Warm
Weak
Weary
Weird
Welcoming
Well-informed
Whimsical
Wicked
Wild
Wise
Witty
Worldly
Worried
Zany

Writers are often told to show, not tell. While telling does have its place (for example, to quickly get through information that doesn't need to be shown), it's usually helpful to focus on what the characters are doing when you introduce them. This brings them to life for readers, hopefully leaving them wanting more.

When an important character walks onto your novel's stage, don't just describe him standing there. Have him do something. This keeps readers' interest and makes them more likely to remember the characteristic you're showing, not telling.

If he's afraid of dogs—and that's a major plot element—have him hide behind a tree to avoid a friend with her new puppy. If it's important to know that she's short, have her stand on tiptoe and still not be able to reach a book on a high shelf, which a friend then grabs easily.

Just make sure whatever action you choose is in character for that particular person.

All of this applies in general to any sort of character description throughout the book, but it's especially important to think about when you're creating a first impression.

A couple of well-chosen details give a better impression of a character than fifteen vague ones do. Readers don't have to know every single thing about your character, especially when they first meet him.

Pick details that help create the dominant impression you've chosen and also make your character interesting—leaving readers eager to see more of her.

If you bring on too many characters at the same time, you run a big risk of confusing your readers, since they'll have trouble remembering who's who.

It's hard to create a vivid impression of one character if you're having to explain five others at the same time. As much as possible, let each of your important characters make her own entrance—as memorably as possible.