#personally speaking not as like. a character trait

[literaryvein-reblogs]

Writing Ideas: 170 Character Quirks

Quirk—a peculiar trait; idiosyncrasy; memorable little things about a character’s personality that make them charming, endearing, weird, or unique; can be cute habits; is anything worth describing about a character.

PERSONALITY QUIRKS

Very introverted, quiet and reserved, keeps to themselves

Highly extroverted, loves socializing and meeting new people

Mega control freak who has to have everything their way

Neat freak (often coincides with control freak)

Total slob who never knows where anything is

Super stubborn and will never admit when they’re wrong

Brutally honest and can’t lie to save their life

Extremely judgmental of other people

Short-tempered, especially when irritated

Always patient, even when frustrated

Hilarious or odd sense of humor

Very hard to make them laugh

Loves to eat and is obsessed with food

Loves to drink and is constantly partying

Constantly complains about everything

Extremely loyal and will do anything for their friends/family

Adventurous and willing to try anything

Cautious and careful no matter what

Energetic, hardly ever needs to rest

Sleeps all the time and still gets tired during the day

Horrible sense of direction and constantly gets lost

Overachiever who loves school/structure

Really modest and won’t ever brag about themselves

Extremely emotional and will cry at the drop of a hat

Stoic and detached, rarely shows emotion

Wildcard whose behavior is unpredictable, even to their friends

Notoriously two-faced and will betray anyone

Charismatic and can convince anyone to do their bidding

Very proper and always polite to others

Dates tons of people and has a new boyfriend or girlfriend every week

Obsessive personality — whether it’s a TV show, brand, musical artist, or even another person, they’ll get attached and think/talk about it constantly

PHYSICAL QUIRKS

Unique eye or hair color

Has two different eye colors

Extremely short or tall

Some discerning physical mark — birthmark, freckles, mole, or scar

Wears unusual glasses

Has braces and headgear

Large feet — may mean they’re clumsy

Bites their nails/lips or chews on their hair

Constantly fidgeting and can’t sit still

Acne, eczema, or other skin problems

Many tattoos or piercings

Often sick or has allergies (constantly sniffling/blowing their nose)

Talks very loudly or quietly

Says everything like it’s a question

Terrible breath — may be a coffee drinker

Gets sweaty easily (especially when nervous)

Unusually hairy arms or legs

Very long painted nails

Always wears a faceful of makeup

Has a stutter or other speech impediment

Incessantly clicks a pen

Often tucks their hair behind their ears

Constantly chews gum

Has a toothpick dangling from their mouth

Always picking their teeth

Smokes and has a raspy voice

Breathes heavily or snores

Is extremely muscular

Walks very slowly or quickly

Left-handed or ambidextrous

Constantly scratching themselves

Has some noticeable physical tic, like a twitch

Always wears a distinct item of clothing or accessory — a favorite pair of socks, a lucky jersey, or even a particular shade of lipstick

STRENGTHS/TALENTS

Fantastic cook or baker

Skilled musician (piano, guitar, violin, etc.)

Artistic talent (drawing, painting, sculpting, etc.)

Model athlete (football, hockey, swimming, etc.)

Great at voices/ventriloquy

Can do sleight-of-hand — may be a pickpocket

Speaks multiple languages, even obscure ones

Knows everything about history

Mathematical or scientific genius

Brilliant coder and can hack into any database

Skilled mechanical inventor

Can build or put together anything

Super-quick logical reasoning

Exceptional memory/genius IQ (several of the above might fall under this)

Special connection with animals

Super empathetic and understanding of other people

Extremely fast runner

Contortionist (can twist their body into any shape)

Psychic talent (can predict the future)

Amazing mechanic

Super strength, flying, invisibility or other superpowers

Unusually high tolerance for pain

Survival skills like hunting and fishing

Quick reflexes, acts fast in a crisis

Brave and fearless, not scared of anything

Able to talk their way out of any trouble/invent stories on the fly

WEAKNESSES/NEGATIVE TRAITS

Awful driver

Always running late

Illegible handwriting

Terrible at public speaking

Socially awkward — hard for them to make friends

Has tons of credit card debt from online shopping

Self-destructive and always wants what’s worst for them

Gets blackout drunk every time they go out

Extremely conceited or arrogant

Compulsive liar

Manipulative of friends

Gets jealous over nothing

Often mean for no reason

Unbelievably self-centered

Extremely passive-aggressive

Is a hero who doesn’t like using their superpowers

Arachnophobia (irrational fear of spiders)

Coulrophobia (irrational fear of clowns)

Agoraphobia (irrational fear of leaving the house)

Pantophobia (fear of everything)

COMMONLY USED QUIRKS

Pale skin

Crooked smile

“Intense” stare

Relentless clumsiness

Artificial hair colors that are supposedly natural

Characters thinking they’re unattractive when everyone else thinks they’re beautiful

OTHER QUIRKS

Dresses all in one color

Bedroom is decorated exactly like a Pinterest picture

Won’t drink still water, only sparkling

Refuses to use headphones and blasts their music in public

Always dresses too nicely for the occasion

Walks around barefoot, even in stores and other public places

Hates being inside, sleeps and goes to the bathroom outdoors

Can’t help but look in every mirror they pass

Wears a small plastic backpack everywhere

Preps their meals three weeks in advance

Drinks shots of espresso all day long

Sings opera in the shower

Always sneezes around pets

Has a collection of something mundane

Makes their own (terrible) abstract art and hangs it on their walls

Gets super excited about Christmas and then really depressed in January

Refuses to wear glasses even though they need them

Carries around a secret teddy bear

Has been wearing the same friendship bracelet for three years

Fastidiously lint-rolls all their clothing

Will leave a shop or restaurant if someone walks in with a baby

Extremely superstitious (knocks on wood, avoids the number 13, etc.)

Drops everything other people ask them to hold

Likes to go out dancing by themselves

Prefers to have the lights off or dimmed at all times

Only reads books written before 1900

Only watches movies that get really bad reviews

Always wears multiple sweaters on top of each other

Won’t eat anything that doesn’t have bread (at least on the side)

Thinks they’re a time-traveler from the medieval era

Gives friends and family excellent homemade presents

Leaves the office last every day so they can push all the chairs in

Hates jagged numbers (always fills their gas tank to the dollar, sends emails on the hour, etc.)

Has an imaginary friend they still talk to, even in adulthood

Owns a lizard that they try and use as a guard dog

Listens exclusively to Britney Spears

Leaves little notes in library books for future readers

Uses tissues to hold onto poles on public transportation

Wears their hair in Princess Leia buns

Never goes a day without talking to their mom

Hums “In the Hall of the Mountain King” when they get stressed

Clucks their tongue while walking, so they sound like a horse

Quotes Pulp Fiction all the time

Loves hanging out in completely empty places

Convinced they’re going to die in a freak accident

Grows all their own food in their vegetable garden

Never pays for train or bus tickets

Can recite Shakespearean sonnets

Recycles and eats vegetarian, but only out of guilt

Has a “vision board” posted on their ceiling

Loves the beach but hates swimming

Flicks people in the forehead when they get annoyed

Laughs at everything, even bad jokes

Curates a great Instagram feed of street art

Sources: 1 2

[cherryys]

looking at this panel again made me realize what megumi says here has more implications about him other than his sexuality or preferences. it's about how he views his wants vs. his needs.

Todo asks him about his type. Usually when someone is asked that, they answer with their preference, what they *want*, or *prefer*, like for example Yuuji's answer of a "tall girls with big butts", despite having a history before of not prioritising that like when he liked yuko.

But Megumi answers, not of what he prefers or what he finds attractive (whether physically or personality-wise), he just says what he *needs*. He doesn't have a preference as long as the person's character is unshakable. That's it. That's why Todo found his answer boring.

it's not just because he described a character trait or personality rather than a physical attribute like Todo & Yuuji, but because it was the bare minimum. When you ask someone their type, if they reply "someone with a stable career" you'd find it a bit boring, no? it's not really answering your question of what they want in a partner, what they desire. just what they need. This approach of only looking at what is needed persists through everything Megumi does, not just his type, specifically his career a sorcerer.

He doesn't take more than what he's given, and he forces himself to provide what the situation needs. For example, his sacrifice bunt in the baseball game that Gojo called him out for. He didn't think about what he wanted, but what was needed for the match, and that was to let Nobara advance while he stays behind, so that they overall win the match.

He limits himself like that. That's why Gojo's words of "It's okay to be selfish!" resonated. Because he never let himself take more. He never let himself step out of line.

This goes for his relationship with Gojo, too. he was a teacher, a mentor for him, but he never let himself step out of line to get any closer to him, as opposed to someone like Yuuji or Yuuta who interact with Gojo freely without any barriers between them. To him, he needs Gojo as a mentor and nothing else, and never let himself entertain the idea of wanting to be closer to him. throughout the conversations and interactions between Megumi and Gojo, there is a sense of distance that not even Gojo has with Yuuta and Yuuji, despite the barriers Gojo put up. Yuuji and Yuuta are both close to Gojo in the sense that they let themselves depend on Gojo and express themselves freely, able to talk about things other than jujutsu. but there isn't anything like that with Megumi. he always speaks to him formally despite 10 years of knowing each other and he's never spoke to him about anything other than jujutsu. to Megumi, Gojo is a teacher and mentor strictly and nothing else. not an adult he could depend on or someone he could confide in.

This goes for Toji, too. To him, he thinks doesn't need his father because he left him, that's why he doesn't care. even if he wanted to grow up with a stable caretaker in his life.

When Gojo first provided him with the two "choices" of training under him or being with the Zenin clan, he didn't think to ask if there was a third option where he just doesn't become a sorcerer. obviously this is because when you're like 6 years old and you're provided with two options, you don't think to entertain a third secret option, especially when you're talking to someone you don't even know, but this mindset of just taking what life gives you without question or defiance is largely why megumi didn't really thrive, especially in such a selfish environment like jujutsu sorcery where you need to overstep to succeed. only when he let go of those limitations (CH. 58) was he able to take selfishly.

His dream in 266 tells you this in full clarity. what he wanted was a simple and domestic life away from jujutsu sorcery. but he knew he didn't have the authority to really demand that from gojo, so he settled for what he needed, which was his sister's happiness.

this attitude of his likely resulted from the fact he grew up having everything taken away from him (his mother, his father, and even his stepmother) along with the fact that he grew up in poverty, so he didn't feel like he had any sort of authority to want things. he saw it as a luxury he wasn't allowed.

(interesting that the only time he has expressed a want, went against life and actually stepped out of line and made a decision out of a selfish need, is when he wanted to save yuuji.)

[kaustic]

every time i think about how i miss being in an active discord server, i consider making my own only to realize i'd probably send the invites to like. the 3 people I've talked with enough privately because discord servers with more than 6 people are terrifying places :D

[messiahzzz]

When I came across that "joke" from Tav to Quill and Z'rell's comment (plus Halsin), I had to take a minute to process what happened. Gale might be a bit silly and eccentric but he's the kindest, sweetest and most passionate character in that party. No wonder the poor man has deep insecurities to solve, so many people reduce him to an easy target! Ofc one of the side effects would be overconfidence and ambition as a defense mechanism. He's obv lonely; only Tara and Morena ever loved him for him.

his eccentric nature might be a part of it. he is loquacious, outgoing, and doesn’t see the point in hiding his enthusiasm. he is considered to be the weird one. naturally, wizards in general being seen as somewhat squishy and physically weak might also add to it.

personally, i really don’t like the implications of the (widely considered) autistic-coded character being the one who faces the most ridicule by far by other characters and fans (and larian) alike.

some might disagree with me on that, but i don’t find it funny by any means either. mostly it just makes me feel bad. “he deserves it. cocky, arrogant, hubris-ridden wizard needs to be taken down a peg” like he isn’t… y’know… already at his lowest. it also disregards the fact that much of his bravado is part of his carefully curated Great Wizard of Waterdeep™ persona that he has skillfully adopted to mask his general feeling of being defective. being fiercely proud of your skill and knowledge and being doubtful of having something truly worthwhile to offer are mindsets that can coexist. according to fandom, gale is either secret hubris incarnate that is only waiting to be unleashed upon the world or pure baby that can do no wrong. instead of a character that is just as flawed and traumatized as all the others, but no less deserving of genuine love.

to me, the constant ridicule just reads as further feeding into his deep-rooted insecurities and his belief that he (as gale, the person) isn’t someone who holds inherent worth. it really, really doesn’t sit well with me.

[giantkillerjack]

Non-verbal folks, if you have a moment to spare, can you please share with me some things you would like to see (or not see) in a non-verbal character in a comic?

I wish to know as much as I can about writing non-verbal characters, as there will be several in my graphic novel. I am and will continue to do my own research, but any tidbit of general or specific input is greatly appreciated!! ^_^

I will add some detail about the character I am making for a side project right now, in case that helps:

So far, I know this character will be a food artist, likely a non-binary femme, East Asian, a hot fat person, bisexual, autistic, kind-hearted, and a user of at least some sign language.

They are one of many romantic interests for the main character in this series, and they will end up happily getting together with the main character (along with pretty much all the other romantic interests in a big big polycule)!

It is a very light-hearted horror-comedy in the style of a cooking manga/harem anime/school otome game. All the characters go to a ridiculously specific cooking college that offers majors like Dinner Theater.

This person is majoring in Art at their cooking college, and they create beautiful edible creations!

(Also, they are an adult, and they will NOT be infantilized by the narrative! They do NOT become verbal in the narrative, nor is this a goal they wish to pursue. They are accepted and accomodated as they are!!!)

I am a physically disabled autistic person, but I am verbal, and so I care very much about hearing firsthand what non-verbal people wish to see in a character that makes them feel proud and seen!

Thank you in advance for any signal boosts, comments, and advice!!! 🙏🙏🙏

[diseaseriddencube]

I wonder if the writing team was different between season 3, 4 and 5. each season has a different feel and it's really off-putting

[distraughtlesbian]

the world if terri immortaldesires was somehow made aware of the existence of vampires prior to the beginning of book 1 and that’s why she packed up her entire life and fucked off to crimson beech. also the world if she became a vampire hunter immediately post-nexus trial shitshow

[the-casbah-way]

"being scottish isn't a personality trait why do you bring it up so much" have you considered that a) where you are born and raised can have a very big impact on who you are and how you speak and what you enjoy b) you are american and it's painfully obvious to everyone around you the second you open your mouth but you just don't see it that way because you assume yourself to be the standard default with no accent or culture. your americanness is just as pronounced as my scottishness and that's fine

[enobariasdistrict2]

enemies to lovers isn't "he's generally an unpleasant person to be around, he constantly puts other people down and disrespects/condescends/ostracizes them, he's cruel and a bully... but his one redeeming quality is that he looks attractive" like. bestie that's not a redemption arc!! or a redeeming quality!!! a person can and should control their behaviors, but how they look literally has no bearing on their worth as a person!

like... this trope is about an initial misunderstanding and miscommunication that leads to mild conflict and resentment of each other,but eventually they move past this rocky start by revealing to each other their humanity and good qualities, and communicating what happened the first time they met so that they can clear up that situation, and slowly becoming good friends who enjoy spending time with each other and eventually become really close, and the realization that one accidental mishap/slip in behavior/aashole mistake isn't what defines a person and sometimes your first interpretation of them is sometimes wrong!! an entire opinion of someone should be formed based on their behaviors, values, actions, and morals, and quality time spent with this person, not because they have nice cheekbones.

[orpheusilver]

can i be critical of black sails' writing for a second. for a show thats typically very very good at creating depth for even minor characters, 90% of the black characters are super fucking shallow

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[arendaes]

Look I'm not ready to jump onto this series' bandwagon just yet but if you can actually read that first scene between Gideon and Harrow and somehow decide Harrow is "flat" I think the problem is you.

[collegeoflore]

i do deeply hate the new spawn!astarion dialogue after u fuck mizora btw. the original dialogue will always be canon to meeeee

[volchitsa-of-winterfell]

I think nearly all of lewis' aloof persona is carefully constructed, as is his over the top style in the paddock. He's extremely good at distracting ppl or showing only what he wants to. He mimics vulnerability but he's hiding the stuff he's really vulnerable about. All the woowoo spiritual "ohhhhh he's so GENUINE" stuff is also a front (see how kate wagner talked about him).

ooooh bold take and as a fellow mimicker of vulnerability to hide the stuff i'm really vulnerable about, i'm into it!! i understand from your tone that you don't mean this as a particularly good thing but i personally am here for interesting/compelling characters in the vroom vroom soap opera and don't care too much if they're Good People ™ or not lol. (and thank you for the reminder that I still haven't gotten around to reading that Kate Wagner article!)

[transgendervaccine]

my fav thing abt morrigans characterization thru the games is that she gets worse

[navree]

the weird thing about the sarah hess interview (there are a lot of weird things about that interview but if i talked about all of them this would be the length of a phd dissertation) is that, like, if you want us to give some sympathy to aegon and acknowledge the complexities behind him not wanting to rule but wanting it and his relationship with alicent and his siblings and rhaenyra and all that without the audience getting hung up on him being a rapist, don’t write him being a rapist? you are a writer on the show sarah, you’re the one who decides and this was an easily solvable problem