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Jamie is a little boy who has lost his mother and his memory, but is lucky enough to find a home in the household of David, a wealthy widower whose own wife and son died in an accident. Tillie, Jamie’s mother, has been released from prison – where she was sent for stealing bread – and is searching for her boy. Will she be able to find Jamie? And will it be better for him if she does?
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Elena Ivanovna Popova is a grieving widow – perhaps grieving a little too hard. Grigory Stepanovitch Smirnov is an army officer looking to call in a debt from her dead husband. But will this unlikely couple find more than they bargained for?
Elena Ivanovna Popova – Sonia Backers
Grigory Stepanovitch Smirnov – Nick Calderbank
Luka – Damian Corcoran
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The other day I came across something called the “What the Hell” effect in a cognitive therapy-ish app called “Fabulous.” It struck a chord with me, so I did some reading. Today I’m going to talk about how struggling with strict targets can lead to a complete failure to meet your goals, particularly when trying to write regularly, and what you can do to stop this from happening.
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A desperate band of survivors shelter in a bunker from the toxic wasteland outside, struggling to keep their equipment working and themselves alive. Then someone, or something, knocks on the door.
Nancy – Jolaine Beal
Michelle – Sonia Backers
Laura – Marie Kline
John – Damian Corcoran
Written by Keith Crawford
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Emotion is the engine of fiction. Emotion is the medium of story. Now, we’ve talked about showing emotions through action rather than declaring them in text. However, before you can show emotions, you have to know what they are.
You need to know how your characters feel, and what. What would make them happy? What makes them unhappy? When are they bored and what enchants them?
So, what are emotions? And why do we have them?
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