This is the discount of our winter tent

AGATHA CHRISTIE'S POIROT - 02.01b PERIL AT END HOUSE (1990)

Haven't seen anyone else mention this documentary on here. If you're into Nelson/ Age of Sail it's well worth a look.

It's a documentary/drama adaptation of William Beatty's first hand account of Trafalgar and the death of Nelson. It's pretty low budget, but the performances are really great and it gets quite emotional in places. I think it does a good job of capturing Beatty's personality.

Happy 15th birthday to Nyan Cat! The post above is the original and first post of the 8bit kitty back on April 2nd, 2011.

1. Slow down at emotionally important moments.

Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.

2. Add reactions, not explanations.

Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.

3. Ground every scene in the senses.

If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.

4. Let thoughts interrupt action.

A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.

5. Expand consequences, not events.

You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.

6. Strengthen setting where emotion peaks.

The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.

7. Add specific details instead of general ones.

Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.

8. Let dialogue breathe.

Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.

9. Show transitions between scenes.

If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.

10. Clarify stakes early in the scene.

If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.

11. Use the “what are they feeling right now?” check.

After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.

12. Expand scenes that feel “too clean.”

But he knows that Fëanor was famous for being too suspicious to collaborate with anyone, for distrusting everyone who tried to correct him, for working alone and never taking advice or direction, and so Celebrimbor distrusts all his own instincts, he’s internalized very very deeply that his intuitions are Fëanorian and suspect and evil and that the right thing to do is overriding them.