OK. Last night I pretended to know something about movies, and talked about the kind of subtle acting you used to see in good films—particularly the kind of acting that’s done with the eyes. The thing about eye acting (if I can call it that) is that it’s a sort of visual subtext. It’s not like in a script, where the directions say, “Rufus goes to the window and looks out.” The eye acting is something the actor himself adds, and it probably hasn’t been explicitly written out in the script.
So how can I claim that there’s an equivalent in fiction writing? If you can’t write it in a script, you can’t write it in a story either, right?
Well, not exactly. Continue reading When words are eyes, Part 2