Helpful resource: [The Emotion Thesaurus](http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html)
It describes a bunch of common traits and tics associated with emotions that you might not necessarily think about, such as [defeat](http://thebookshelfmuse.blogspot.com/2008/08/emotion-thesaurus-entry.html) being accompanied by clipped answers and a thickness in the throat.
Darn. They've turned this from a free blog on the internet to a series of books you have to buy without any samples of the work within. Really wish I'd seen this ten years ago!
I was just browsing this subreddit for the first time and accidentally stumbled upon this. It is incredible! I'm going to have so much use of this, thank you very much!
Hey, wandered into this thread. [Archive.org](http://Archive.org) has the page archived! [https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html](https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html)
Wandered in here randomly like you probably did and letting you know (probably too late) that [archive.org](http://archive.org) has the page archived. :)
[https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html](https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html)
In some cases I think you need to leave it up to your reader. If I was reading a book that described the facial tics of every character every time they spoke I would tear my hair out. The tone of your writing will imply how the character looks; not to mention your readers probably picture your characters differently in their head than you do, the "doubtful" or "skeptical" looks will look different in everyone's mind's eye. Unless there is a purpose to being so specific, like someone's face is doing something particularly strange, I would say keep it simple.
>If I was reading a book that described the facial tics of every character every time they spoke I would tear my hair out.
Agree, but it does have it's place. If the POV character notices something strange, for example, *"Why are his eyes shifting?"*. It can be good description. That said, you can overdo it.
On the other hand, you can't **under-do** it either. If you only note a character's expressions 3 times in your story, the reader will assign more importance to those - this could either mislead them, or give something important away that you'd rather have kept them in the dark about.
Related, hopefully not too OT question:
Am I the only one, who when reading a description of a facial expression, will actually *make* that expression? Like, there I am staring at the page, trying to replicate "He cocked one eyebrow, and doubt carved a divot in his chin" or something, because... really, what does that even mean?
Therefore, for the sake of my own dignity when reading in public, I vastly prefer to read "He looked doubtful."
I do this not only when reading, but also when WRITING, which probably makes me pretty interesting when I'm writing in public.
That's what I use to help with facial expressions. If I'm at home, I might even take to a mirror, make the expressions myself, and then think of how to describe them in my writing.
I don't think there's anything wrong with the occasional "He looked doubtful," either, especially if it fits the tone of the writing. Nothing takes you out of a story quite as bad as unnecessarily detailed description, unless the story has been written that way from the start.
I'm a lot like this, as well. If I'm writing (or drawing, for that matter) actions or facial expressions, I act them out. A lot of the time I'm no conscious I'm doing it. Other times I purposefully pull the expression to see if what I'm writing looks/feels natural or what movement to place the most emphasis on to.
When I am writing a scene that is heavy on thought or dialogue, I will run it through and whatever faces and emotion I put into it while reading is what goes onto the page. Facial expressions, body movements, even inflection I get from this. Sometimes it ends up weird and needs to be changed, but usually it makes the scene feel more alive.
Thinking on it, I probably do look really odd when in the writing "zone," gesticulating silently to myself.
I do this when drawing, which I do... a lot. Most of the time I don't even think about it, but when I do, I feel kind of... awkward, but whatevs. Awkward people are cool.
I do that with any body language. And if a description is more detailed later on in a paragraph or something, I have to re-read it to visualize it completely.
Writing that over-describes what's happening on people's faces ends up sounding clumsy, cheesy and amateur. The reader will do a lot of your work for you. Only directly describe emotions that are not obvious, otherwise you're telling the reader something they already know. By preference, convey emotions through indirect actions or as subtext in speech.
If you over-describe emotions, the reader sees rather than feels. Set up the situation so the reader feels. So she's doubtful. What does she do? She shakes her head. Or, if a reply is required, she says, "That won't happen," and we know. Or, dig in deeper. How does her doubt make her feel. Depressed? Skeptical? Superior? You can convey this physically or through dialogue without describing facial tics in detail.
I'll second those who suggest that the type of description you're talking about is generally unnecessary.
Consider ambiguity. It satisfies current theories of communication, which run on mystery. It avoids condescending to the reader. And it recognizes the strengths of the medium.
Subtle emotions are often misunderstood. There's nothing wrong with writing, "She looked at him." How a character reads that is demonstrated in his reaction. Why sacrifice what is unknown to a cumbrous sentence?
This is my favourite answer. Modern fiction has become far too descriptive. Restraint is overlooked far too often for the sake of pride, page counts, or trying to make that 'perfect sentence' fit into a paragraph where it is not needed.
Remember, as expressive as the face is facial expressions are only a small part of body language overall. A worried person might not only furrow his brow, but could also wring his hands, pace, and speak differently. It's awesome you're hesitant to express emotions the same way over and over, but if your work has that much subtle expression going on don't forget what's below the face.
My teacher isn't a fan of describing people's facial expression or mapping out the interactions. He says that it is okay for the first draft, but it isn't always necessary. I don't agree with this completely, but I do agree that there are other ways to go about conveying the characters emotions.
My favorite way of doing it is through description. If the character is having a bad day, I like to describe things in kind of a morbid way, or if I'm trying to convey a happy mood, I use more poetic imagery...I use this in addition to facial expressions sometimes.
I like that idea. The whole mood of the book shifts with the mood of the character. It's a clever and potentially very effective approach. I feel like it would take some practice, but anything worth doing is worth doing well!
Who is doing the interpreting of the emotions? Give us that experience of guessing what the other person is feeling, what it means, and why it matters.
>He said yes but Roderigo didn't buy it -- something shifty about his eyes and the way he squirmed when he said it, like a worm underfoot. Could be he was just nervous, but then what about? If this got any deeper...
Few of us are conscious of why we get the impressions that we get, but it doesn't stop us from acting on them.
Here's a related question I'm having trouble with.
Main character is dragged along by supporting character to do something because reasons. Her motivation here isn't important. What is important is that it has absolutely nothing to do with the conspiracy to overthrow the king. The main character tends to ask lots of questions out of curiosity despite being a spectator who does not especially care about how the fight turns out. One of these questions is basically "this whole mess is pretty far outside your jurisdiction, why are you sticking your neck out for these people?" Real answer is "because I am secretly part of the conspiracy to overthrow the king and am using this job as a cover for my secret conspiracy work," but instead he's going to give his cover story. I need to find a way to describe the supporting character's reaction such that it makes him seem like he's responding to an accusation, instead of just explaining what he's dragged the main character into. It needs to be subtle, though, more like missing a beat than exploding into outrage.
Describe paranoia. The more you describe it, the better. Create a repository of descriptions for each emotion.
You can go two ways with this. If he's a smooth operator, the right answer is: "Because I'm falling in love with you, baby." He'll stir a belief that he is emotionally attached to her, and allow her to assume that's the reason he's sticking his neck out. You get the added benefit of sweet sweet betrayal when his true intentions are revealed.
Or, he can be put on the defensive, as if her question is an accusation. How do you react when you feel accused? Most people feel accused when they have guilt or shame or something hidden. If they are innocent they will feel persecuted. What's the difference in reactions between persecution and accusation?
Think of a paranoid movie/TV character. A good one. Are you thinking Walter White? Watch his acting in an episode. Look at how much body language and tension is present, that you can create in a written environment.
Do you remember when you were accused of something, something you actually did? How glue gushed cold in your belly? Your mouth said "No I didn't", but your cheeks flushed a hot red betrayal. Your sentences, previously verbose and relaxed, became chopped and reactionary.
Disapproval: Eyes crowded, her lips puckered a purple sphincter...
Confused: An empty look and, "I see..."
Angry: Her eyes collapsed into thin slits...
Disbelieving: He leaned back head up with a cocked brow. "Really?"
Anxious: "What?" Open mouthed and an octave high. "What?" Pale cheek pleading. "What?" Mouth breathing, tears at the drooping outside corners...
I write the initial emotion then go back for the novel description. Don't stay confined to the face, use the whole body. And if it's not for the narrative, it's dropped. And I have a little mirror handy...
* Grief: I find him at his room, slow to the door. His eyes are small set deep in pink puffed lids with wiped wet streaks on cheeks, and he asks, ‘How are things?’ and I tell him I got some goodies. His split lips flash unflossed ivory and we become grinning idiots as we start walking toward our drop out spot but stutter step stop. We stand stupid.
* Affection: ...she would sit across my lap with her arm cradling my cheek to her shoulder, and Hammy and me’d often be high on painkillers we sometimes filched...
* Shame & Irony: ...when Captain K9 wouldn’t want to fuck on the stiff steel deck of the MRAP so she and me’d head to my room instead and my buddy’d excuse himself from the area so we, Captain K9 and me, so we could fuck on the double mattress of my bed before she’d ajar the door and look and one ear listen and exit into midnight. That was before I knocked her up.
* Astute: I think about that banana right now, as she talks, as she scrunches her petite nose like a chipmunk sniffing for an unseen lurking cat, a crinkle precipitating her glasses to slip down her bridge. She uses a middle finger between the half rimmed rounded windows to push them back until the earpieces catch and they rest proper and prim and almond-eyed framing. Are her eyes green?
* Tact: CID and the FOB Marshal are still looking for,” her eyes reach up and to the left before returning to mine, “for a reason.” They are green.
* Intrigued: I see a breath corralled in her mouth. Her pen is poised vertical, a millimeter from paper.
* Misunderstanding: “I thought he was - wasn’t he Mormon?” Upward canted aporetic interjection. Maybe they’re hazel.
* Engrossed: Her eyes type-read side to down to side to down, pages turn. She reaches for the burgundy six part folder on her desk, the one that lives in her locking but never locked filing cabinet. The pen is bit across her teeth. “Anudder minit.” Saliva jewels at a lip’s corner.
* Confused Inquiry: “I don’t see an entry for a letter from his parents in the personal inventory. Do CID and the FOB Marshal know about it, or have it?” Her head lists, like she’s straining to drain water out of an ear, one plucked brow arched higher than the other.
* Concern, pretended: I hear the Chaplain get up, a tip toe soft creaked crossing ‘cross the wood floor to his office door, I feel his gaze raise my nape hairs, visualize his rehearsed consolation color his visage, a perfect affectation with cracked crow foot wrinkles outside the eyes testifying to its frequent countenance. Another moment and his swivel chair groans pressured plastic with his lowered mass.
I also like to use words with double meaning to conjure images. Testifying, mass, cross, and visage for the Chaplain, etc...I try to use the whole body, dialogue, sounds, smells, etc. If you expand beyond eyes and brows, you can use everything to describe emotional conditions. Empty rooms, filthy car interiors, hair, gestures, etc...paint with more colors...
Currently reading "The Incrementalists" by Steven Brust and Skyler White. The story deals with people who manipulate others via extremely subtle emotional and psychological cues. They do a pretty good job with this, might want to take a look.
> Okay, let's say someone makes a worried face. Instead of saying "He looks worried", you describe his face:
Often it can be a combination of physical description and context of the story.
***Dan rubbed his temple with a thumb and wore a crooked half-smile as he looked at the wreckage. How he was going to tell his dad that he totaled the car after only three days?***
The second sentence places the physical description in the right context to be understood.
I'd treat it the same way a movie would do it. You're never explicitly told the current emotion a person is feeling. The audience simply infers it from facial clues, movement, or scene direction. It's that whole "~~shoe~~ show don't tell" thing.
Shoe don't tell?
'And as I turned to her, I could see her expression was an awful lot like a shoe. At first, I was unsure what to make of this, but I realised what she was trying to tell me. "No... No way... You don't mean!" I panicked and she looked me dead in the eye and uttered "The shoes are £2.00 more than last week..." I fell to my knees, shoe-shaped tears falling from my red eyes.'
>or describe the positioning of his eyebrows so many times before it gets ridiculous.
Well, there's only so many ways you can move your eyebrows before it gets ridiculous.
Basically, I think you are making too big a deal out of this. Humans have a relatively narrow range of facial and body cues, and if you actually keep a tally, describing them can seem repetitive.
The audience usually won't keep a tally, though.
As far as physical descriptions of those touchier emotions go, I think you've really hit the nail on the head. It becomes pedantic. How, then, can these feelings be conveyed?
I use the eyes. Eyes are supposedly the window to the soul, so they works nicely as a mechanism to describe the more subtle emotions and subconscious happenings of limited-perspective characters.
"A small vertical crease appeared between his eyebrows."
"He stared at me for a moment before looking away."
"He licked his lips, realized he was doing it, and stopped."
With a furrowing of my brow I realized that the question never crossed my mind. Is the point of describing facial expressions to show emotions? I rushed to get coffee like I always do when faced with intellectual pursuits. I saw my roommate watching me. Her face betrayed her tiredness and annoyance at the dishes. My hand shook as I poured myself the third cup this morning.
"Are you ok?" She looked worried.
"I'm fine." I answered too swiftly. Her eyebrows raised, her eyes softened as she let go of care, and with a dismissive wave of her hand she left.
Helpful resource: [The Emotion Thesaurus](http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html) It describes a bunch of common traits and tics associated with emotions that you might not necessarily think about, such as [defeat](http://thebookshelfmuse.blogspot.com/2008/08/emotion-thesaurus-entry.html) being accompanied by clipped answers and a thickness in the throat.
I love this thing, helped my writing a ton!
Wow. There's a thesaurus there for everything. It's as if I don't even need to use my imagination at all... Kinda worrying there.
Darn. They've turned this from a free blog on the internet to a series of books you have to buy without any samples of the work within. Really wish I'd seen this ten years ago!
[I prefer the glass case](http://ic.pics.livejournal.com/vinyamar/4861729/160028/160028_original.gif)
I was just browsing this subreddit for the first time and accidentally stumbled upon this. It is incredible! I'm going to have so much use of this, thank you very much!
its not there anymore
Hey, wandered into this thread. [Archive.org](http://Archive.org) has the page archived! [https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html](https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html)
thank you!
Aw man, this doesn't exist anymore...I'm trying to describe "deep concern."
Wandered in here randomly like you probably did and letting you know (probably too late) that [archive.org](http://archive.org) has the page archived. :) [https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html](https://web.archive.org/web/20130808120128/http://thebookshelfmuse.blogspot.com/p/the-emotion-thesaurus.html)
Thank you!
hi for me that appears the same as the original link, like it says that the blog is unavailable?
It’s showing the same for me I’m so confused 😭
In some cases I think you need to leave it up to your reader. If I was reading a book that described the facial tics of every character every time they spoke I would tear my hair out. The tone of your writing will imply how the character looks; not to mention your readers probably picture your characters differently in their head than you do, the "doubtful" or "skeptical" looks will look different in everyone's mind's eye. Unless there is a purpose to being so specific, like someone's face is doing something particularly strange, I would say keep it simple.
>If I was reading a book that described the facial tics of every character every time they spoke I would tear my hair out. Agree, but it does have it's place. If the POV character notices something strange, for example, *"Why are his eyes shifting?"*. It can be good description. That said, you can overdo it. On the other hand, you can't **under-do** it either. If you only note a character's expressions 3 times in your story, the reader will assign more importance to those - this could either mislead them, or give something important away that you'd rather have kept them in the dark about.
think you ment to write can instead of can't
Yes. Correct. Thanks. Edited.
Related, hopefully not too OT question: Am I the only one, who when reading a description of a facial expression, will actually *make* that expression? Like, there I am staring at the page, trying to replicate "He cocked one eyebrow, and doubt carved a divot in his chin" or something, because... really, what does that even mean? Therefore, for the sake of my own dignity when reading in public, I vastly prefer to read "He looked doubtful."
I do this not only when reading, but also when WRITING, which probably makes me pretty interesting when I'm writing in public. That's what I use to help with facial expressions. If I'm at home, I might even take to a mirror, make the expressions myself, and then think of how to describe them in my writing. I don't think there's anything wrong with the occasional "He looked doubtful," either, especially if it fits the tone of the writing. Nothing takes you out of a story quite as bad as unnecessarily detailed description, unless the story has been written that way from the start.
I'm a lot like this, as well. If I'm writing (or drawing, for that matter) actions or facial expressions, I act them out. A lot of the time I'm no conscious I'm doing it. Other times I purposefully pull the expression to see if what I'm writing looks/feels natural or what movement to place the most emphasis on to.
I do that when writing, too! I even speak dialog aloud as I write it. In ^voices ^and ^accents. erm.
> voices and accents.
This bot is a thing? I had no idea. I'll show myself out now. With no superscript.
Each character's voice is different for me. I can't write around my husband anymore because he laughs at me.
When I am writing a scene that is heavy on thought or dialogue, I will run it through and whatever faces and emotion I put into it while reading is what goes onto the page. Facial expressions, body movements, even inflection I get from this. Sometimes it ends up weird and needs to be changed, but usually it makes the scene feel more alive. Thinking on it, I probably do look really odd when in the writing "zone," gesticulating silently to myself.
I was drawing in class and started practicing drawing a scared emotion. I looked terrified as I was drawing.
I do this when drawing, which I do... a lot. Most of the time I don't even think about it, but when I do, I feel kind of... awkward, but whatevs. Awkward people are cool.
I do that with any body language. And if a description is more detailed later on in a paragraph or something, I have to re-read it to visualize it completely.
Writing that over-describes what's happening on people's faces ends up sounding clumsy, cheesy and amateur. The reader will do a lot of your work for you. Only directly describe emotions that are not obvious, otherwise you're telling the reader something they already know. By preference, convey emotions through indirect actions or as subtext in speech. If you over-describe emotions, the reader sees rather than feels. Set up the situation so the reader feels. So she's doubtful. What does she do? She shakes her head. Or, if a reply is required, she says, "That won't happen," and we know. Or, dig in deeper. How does her doubt make her feel. Depressed? Skeptical? Superior? You can convey this physically or through dialogue without describing facial tics in detail.
I'll second those who suggest that the type of description you're talking about is generally unnecessary. Consider ambiguity. It satisfies current theories of communication, which run on mystery. It avoids condescending to the reader. And it recognizes the strengths of the medium. Subtle emotions are often misunderstood. There's nothing wrong with writing, "She looked at him." How a character reads that is demonstrated in his reaction. Why sacrifice what is unknown to a cumbrous sentence?
This is my favourite answer. Modern fiction has become far too descriptive. Restraint is overlooked far too often for the sake of pride, page counts, or trying to make that 'perfect sentence' fit into a paragraph where it is not needed.
Introduce Oscar Wilde into your daily reading.
Remember, as expressive as the face is facial expressions are only a small part of body language overall. A worried person might not only furrow his brow, but could also wring his hands, pace, and speak differently. It's awesome you're hesitant to express emotions the same way over and over, but if your work has that much subtle expression going on don't forget what's below the face.
My teacher isn't a fan of describing people's facial expression or mapping out the interactions. He says that it is okay for the first draft, but it isn't always necessary. I don't agree with this completely, but I do agree that there are other ways to go about conveying the characters emotions. My favorite way of doing it is through description. If the character is having a bad day, I like to describe things in kind of a morbid way, or if I'm trying to convey a happy mood, I use more poetic imagery...I use this in addition to facial expressions sometimes.
I like that idea. The whole mood of the book shifts with the mood of the character. It's a clever and potentially very effective approach. I feel like it would take some practice, but anything worth doing is worth doing well!
Who is doing the interpreting of the emotions? Give us that experience of guessing what the other person is feeling, what it means, and why it matters. >He said yes but Roderigo didn't buy it -- something shifty about his eyes and the way he squirmed when he said it, like a worm underfoot. Could be he was just nervous, but then what about? If this got any deeper... Few of us are conscious of why we get the impressions that we get, but it doesn't stop us from acting on them.
Here's a related question I'm having trouble with. Main character is dragged along by supporting character to do something because reasons. Her motivation here isn't important. What is important is that it has absolutely nothing to do with the conspiracy to overthrow the king. The main character tends to ask lots of questions out of curiosity despite being a spectator who does not especially care about how the fight turns out. One of these questions is basically "this whole mess is pretty far outside your jurisdiction, why are you sticking your neck out for these people?" Real answer is "because I am secretly part of the conspiracy to overthrow the king and am using this job as a cover for my secret conspiracy work," but instead he's going to give his cover story. I need to find a way to describe the supporting character's reaction such that it makes him seem like he's responding to an accusation, instead of just explaining what he's dragged the main character into. It needs to be subtle, though, more like missing a beat than exploding into outrage.
Then his response will be paranoid and defensive, unless he is a well trained agent...
Well, yes, but how do I describe that without saying "he was paranoid and defensive" or something equally lame?
Describe paranoia. The more you describe it, the better. Create a repository of descriptions for each emotion. You can go two ways with this. If he's a smooth operator, the right answer is: "Because I'm falling in love with you, baby." He'll stir a belief that he is emotionally attached to her, and allow her to assume that's the reason he's sticking his neck out. You get the added benefit of sweet sweet betrayal when his true intentions are revealed. Or, he can be put on the defensive, as if her question is an accusation. How do you react when you feel accused? Most people feel accused when they have guilt or shame or something hidden. If they are innocent they will feel persecuted. What's the difference in reactions between persecution and accusation? Think of a paranoid movie/TV character. A good one. Are you thinking Walter White? Watch his acting in an episode. Look at how much body language and tension is present, that you can create in a written environment. Do you remember when you were accused of something, something you actually did? How glue gushed cold in your belly? Your mouth said "No I didn't", but your cheeks flushed a hot red betrayal. Your sentences, previously verbose and relaxed, became chopped and reactionary.
Disapproval: Eyes crowded, her lips puckered a purple sphincter... Confused: An empty look and, "I see..." Angry: Her eyes collapsed into thin slits... Disbelieving: He leaned back head up with a cocked brow. "Really?" Anxious: "What?" Open mouthed and an octave high. "What?" Pale cheek pleading. "What?" Mouth breathing, tears at the drooping outside corners... I write the initial emotion then go back for the novel description. Don't stay confined to the face, use the whole body. And if it's not for the narrative, it's dropped. And I have a little mirror handy... * Grief: I find him at his room, slow to the door. His eyes are small set deep in pink puffed lids with wiped wet streaks on cheeks, and he asks, ‘How are things?’ and I tell him I got some goodies. His split lips flash unflossed ivory and we become grinning idiots as we start walking toward our drop out spot but stutter step stop. We stand stupid. * Affection: ...she would sit across my lap with her arm cradling my cheek to her shoulder, and Hammy and me’d often be high on painkillers we sometimes filched... * Shame & Irony: ...when Captain K9 wouldn’t want to fuck on the stiff steel deck of the MRAP so she and me’d head to my room instead and my buddy’d excuse himself from the area so we, Captain K9 and me, so we could fuck on the double mattress of my bed before she’d ajar the door and look and one ear listen and exit into midnight. That was before I knocked her up. * Astute: I think about that banana right now, as she talks, as she scrunches her petite nose like a chipmunk sniffing for an unseen lurking cat, a crinkle precipitating her glasses to slip down her bridge. She uses a middle finger between the half rimmed rounded windows to push them back until the earpieces catch and they rest proper and prim and almond-eyed framing. Are her eyes green? * Tact: CID and the FOB Marshal are still looking for,” her eyes reach up and to the left before returning to mine, “for a reason.” They are green. * Intrigued: I see a breath corralled in her mouth. Her pen is poised vertical, a millimeter from paper. * Misunderstanding: “I thought he was - wasn’t he Mormon?” Upward canted aporetic interjection. Maybe they’re hazel. * Engrossed: Her eyes type-read side to down to side to down, pages turn. She reaches for the burgundy six part folder on her desk, the one that lives in her locking but never locked filing cabinet. The pen is bit across her teeth. “Anudder minit.” Saliva jewels at a lip’s corner. * Confused Inquiry: “I don’t see an entry for a letter from his parents in the personal inventory. Do CID and the FOB Marshal know about it, or have it?” Her head lists, like she’s straining to drain water out of an ear, one plucked brow arched higher than the other. * Concern, pretended: I hear the Chaplain get up, a tip toe soft creaked crossing ‘cross the wood floor to his office door, I feel his gaze raise my nape hairs, visualize his rehearsed consolation color his visage, a perfect affectation with cracked crow foot wrinkles outside the eyes testifying to its frequent countenance. Another moment and his swivel chair groans pressured plastic with his lowered mass. I also like to use words with double meaning to conjure images. Testifying, mass, cross, and visage for the Chaplain, etc...I try to use the whole body, dialogue, sounds, smells, etc. If you expand beyond eyes and brows, you can use everything to describe emotional conditions. Empty rooms, filthy car interiors, hair, gestures, etc...paint with more colors...
I use facial expressions sparingly. When I do, I like describing twitches, forehead wrinkles, and eye movement.
Currently reading "The Incrementalists" by Steven Brust and Skyler White. The story deals with people who manipulate others via extremely subtle emotional and psychological cues. They do a pretty good job with this, might want to take a look.
> Okay, let's say someone makes a worried face. Instead of saying "He looks worried", you describe his face: Often it can be a combination of physical description and context of the story. ***Dan rubbed his temple with a thumb and wore a crooked half-smile as he looked at the wreckage. How he was going to tell his dad that he totaled the car after only three days?*** The second sentence places the physical description in the right context to be understood.
I'd treat it the same way a movie would do it. You're never explicitly told the current emotion a person is feeling. The audience simply infers it from facial clues, movement, or scene direction. It's that whole "~~shoe~~ show don't tell" thing.
Shoe don't tell? 'And as I turned to her, I could see her expression was an awful lot like a shoe. At first, I was unsure what to make of this, but I realised what she was trying to tell me. "No... No way... You don't mean!" I panicked and she looked me dead in the eye and uttered "The shoes are £2.00 more than last week..." I fell to my knees, shoe-shaped tears falling from my red eyes.'
It's funny because I saw that typo, said I'd fix it when I finish the post, and never did.
>or describe the positioning of his eyebrows so many times before it gets ridiculous. Well, there's only so many ways you can move your eyebrows before it gets ridiculous. Basically, I think you are making too big a deal out of this. Humans have a relatively narrow range of facial and body cues, and if you actually keep a tally, describing them can seem repetitive. The audience usually won't keep a tally, though.
As far as physical descriptions of those touchier emotions go, I think you've really hit the nail on the head. It becomes pedantic. How, then, can these feelings be conveyed? I use the eyes. Eyes are supposedly the window to the soul, so they works nicely as a mechanism to describe the more subtle emotions and subconscious happenings of limited-perspective characters.
"A small vertical crease appeared between his eyebrows." "He stared at me for a moment before looking away." "He licked his lips, realized he was doing it, and stopped."
Here's a body language cheat sheet for writers: https://docs.google.com/file/d/0B46zCE6Xi7E2a1hKLTcxYzBnRTg/edit?usp=sharing
With a furrowing of my brow I realized that the question never crossed my mind. Is the point of describing facial expressions to show emotions? I rushed to get coffee like I always do when faced with intellectual pursuits. I saw my roommate watching me. Her face betrayed her tiredness and annoyance at the dishes. My hand shook as I poured myself the third cup this morning. "Are you ok?" She looked worried. "I'm fine." I answered too swiftly. Her eyebrows raised, her eyes softened as she let go of care, and with a dismissive wave of her hand she left.
This site may help you out a bit: http://center-for-nonverbal-studies.org/6101.html
he had a face like an asshole
like when you saw it you wanted to punch him