The prompt today is to write a short scene where someone is afraid.

The example came from Ken Follet’s book, The Hammer of Eden:

Judy had been in one major earthquake.

The Santa Rosa earthquake had caused damage worth $6 million—not much, as these things go—and had been felt over the relatively small area of twelve thousand square miles. The Maddox family was then living in Marin County, north of San Francisco, and Judy was in first grade. It was a minor tremor, she knew now. But at the time she had been six years old, and it had seemed like the end of the world.

First there was a noise like a train, but real close, and she came awake fast and looked around her bedroom in the clear light of dawn, searching for the source of the sound, scared to death.

Then the house began to shake. Her ceiling light with its pink-fringed shade whipped back and forth. On her bedside table, Best Fairy Tales leaped up in the air like a magic book and came down open at “Tom Thumb,” the story Bo had read her last night. Her hairbrush and her toy makeup set danced on the Formica top of the dresser. Her wooden horse rocked furiously with no one on it. A row of dolls fell off their shelf, as if diving into the rug, and Judy thought they had come alive, like toys in a fable. She found her voice at last and screamed once: “DADDY!”

From the next room she heard her father curse, then there was a thud as his feet hit the floor. The noise and the shaking grew worse, and she heard her mother cry out. Bo came to Judy’s door and turned the handle, but it would not open. She heard another thud as he shouldered it, but it was stuck.

Her window smashed, and shards of glass fell inward, landing on the chair where her school clothes were neatly folded, ready for the morning: gray skirt, white blouse, green V-neck sweater, navy blue underwear, and white socks. The wooden horse rocked so hard, it fell over on top of the dollhouse, smashing the miniature roof; and Judy knew the roof of her real house might be smashed as easily. A framed picture of a rosy-cheeked Mexican boy came off its hook on the wall, flew through the air, and hit her head. She cried out in pain.

Then her chest of drawers began to walk.

It was an old bow-fronted pine chest her mother had bought in a junk shop and painted white. It had three drawers, and it stood on short legs that ended in feet like lions’ paws. At first it seemed to dance in place, restlessly, on its four feet. Then it shuffled from side to side, like someone hesitating nervously in a doorway. Finally it started to move toward her.

She screamed again.

Her bedroom door shook as Bo tried to break it down.

The chest inched across the floor toward her. She hoped maybe the rug would halt its advance, but the chest just pushed the rug with its lions’ paws.

Her bed shook so violently that she fell out.

The chest came within a few inches of her and stopped. The middle drawer came open like a wide mouth ready to swallow her. She screamed at the top of her voice.

The door shattered and Bo burst in.

Then the shaking stopped.

* * *

Thirty years later she could still feel the terror that had possessed her like a fit as the world fell apart around her. She had been frightened of closing the bedroom door for years afterward; and she was still scared of earthquakes. In California, feeling the ground move in a minor tremor was commonplace, but she had never really gotten used to it. And when she felt the earth shake, or saw television pictures of collapsed buildings, the dread that crept through her veins like a drug was not the fear of being crushed or burned, but the blind panic of a little girl whose world suddenly started to fall apart.

Why is this so effective? What makes you know a six-year old is terrified?

Create a scene in which someone is terrified.