I picture forests echoing with laughter and shadows taller than souls.
This line gives us a look on what the main character is thinking about when she hears the music. This way, we can also understand exactly what is running through her head.
I picture forests echoing with laughter and shadows taller than souls.
This line gives us a look on what the main character is thinking about when she hears the music. This way, we can also understand exactly what is running through her head.
and the window is shattered and he’s long gone. The floor is littered with broken records. A policeman picks up one of the smooth vinyl shards and rubs his thumb across the grooves. He glances at the album covers strewn across the bed and chooses one, flips it open, shakes his head.
The sensory details such as "smooth vinyl shards" and "the floor is littered with broken records" can both be vividly imagined. The setting is in our heads and this creates a more engaging thought process in the reader.
I go back to my room where the carpet is red and cut into pictures of bricks. I hop on the bricks and play with my dolls—stuffed unicorns and bears and rabbits, all with the same tea-stained mouths.
These lines help the reader have a clear image in my mind, when thinking about the scene. The dolls and their tea-stained mouths also tell us things about the main character.
I lie on my back, hands laced behind my head and eyes closed because I know that’s exactly what he’s doing. Sometimes he knocks on the wall
As I read this, I can imagine the main character doing all of these actions. These action verbs create a spark in our heads, causing us to think about the situation.
our rooms are in the basement separated by one thin wall. My bed is against the wall and at night I can hear him listening to his music.
When the author writes "one thin wall" an image is created in our heads where the main character and his brother's rooms are so close to each other. I could imagine leaning on the wall, and hearing the music.