Head of the Acrobat's Wife
(Woman with Helmet of Hair)
The Art Institute of Chicago.
No, not the lack of dialogue tags/ action indicators where one must count alternate lines to see who is speaking.
I mean those passages where attitude is expressed largely by facial expressions.
Last year ( Dec.6) Nathan Bransford, as well as Electric Spec , questioned this tendency to describe emotion/interaction largely in facial terms.
Seems Agent Nathan, in particular, had seen an excess of disturbing, disembodied grimaces -- as well as pouts, twitches and grins, head shakes, eyebrows up and mouths turning down.
We could blame this head-shot habit on television, I suppose.
When a character's focus zeroes on another character, s/he will naturally search for clues and cues in the other's facial reactions, especially if the pair are ( or would like to be) up close and personal.
Just as we are inclined to do, automatically, in real life.
In fiction, however, imitation of real life is not always an adequate defense.
Because certain visual descriptions have become so overused, they begin to read like cliches -- which produces an additional prose problem. One that goes beyond the isolated body parts effect.
And, obviously, since adverbs are under interdict, the solution is not to provide vocal adverbs, as in he said scornfully, to supply by implication the accompanying facial expression.
Nathan's observation suggests an excess in description to watch for and work on.
Santa left a Spy Light Hand ( ages 6 and up) in my stocking, constructed of finger clips and flexible cables.
Call me Seven of Nine.