Anywaayyyy if the 100 writers think they can bring octagon blake back on horseback like the white savior ™ of the sky people to fight this battle for them and expect me to accept her back without a second thought they really out they gotdamn caucasian minds
An impromptu encounter and travel plans could change their lives forever.
Sansa Stark wasn’t looking for anyone or anything, she was done with all that. At least she thought she was…until she saw the way he was looking at her.
He hadn’t once looked at Margaery or Roslin like that she was sure. She felt slightly guilty for feeling delighted about that.
He was obviously older then her but it didn’t bother her as much as she thought it might. It was actually a self confidence boost, that an older, powerful and wealthy man was looking at her that way. Sansa felt that there was a lot more of that to come yet and her body heated at the thought.
When Margaery had first suggested the idea, she wasn’t so keen. However in a flurry of excitement and mixed drinks from a well stocked bar, new travel plans had been arranged. It would only be for a few days anyway has they made their way up the coast on the very lavish super yacht the ‘Mockingbird’.
(Three University girls, a loved up Lores and Renly, a Dornish Prince and Petyr Baelish on a pimped up superyacht - what could possibly go wrong?)
The lady stood before them resembled something close to a duck and Xavi was finding it increasingly difficult to keep his laughter to himself. Finally tuning back into her speech he caught the tail-end, “… home to many birds. We mainly deal with the protection and surveillance of peristeronic species…” Xavi frowned and turned to his friend, “What on earth is a peris-” He began, only o be cut off by, who seemed to be, the male incarnation of Hermione Granger.
// Oh, anon, you do not make my life easy! I spent so long trying to find out how I might use this, I’m still not 100% sure I’ve used it correctly! That was a hard one, but thanks for teaching me things! xox //
p.s. Related to some tags and replies! He is not releasing the string in the third panel; He lowered the bow and he’s still holding the string, he relaxed the pull from second panel. I know it’s bad for the bow and so on, BUT really, THANK YOU for heads up on this! I really appreciate the feedback on it! (if I didn’t know this, it would’ve been surely something new to keep in mind; next time I’ll make sure it’s visible :3)
Possibly unpopular opinion here, but I cannot stand the use of “realistic” casual dialogue. Ums and uhs and wells and yeahs and… random bouts of trailing off in the middle of sentences.
You don’t want to write realistic dialogue. You want to write dialogue equivalent to your brain’s understanding of realistic dialogue.
The broken, casual phrasing might be natural, word for word. It might even sound natural to the person who’s writing it. But it doesn’t align with the way we comprehend speech. It doesn’t account for the work our subconscious does in order to dissect and analyze speech patterns, to take in a stream of disjointed words and create a concrete meaning.
In real life, we have the privilege of being entirely engulfed in the conversation, of experiencing every visual and vocal cue, and quite often of knowing the particular tendencies of the person we’re speaking with. The reader never has this. They are constantly limited to only what is stated on the page, brought to them at exactly the speed they read it.
In real life, we also have the redundancy of being a part of boring, anti-climatic conversations. Real conversations generally go nowhere. They’re fun for the people in them, but useless to everyone else. This isn’t what you want in you writing. You want dialogue that says something, with every sentence, every phrase, every line.
Casual speech and inter-dialogue pacing (aka, the ‘…’ syndrome) has it’s place, but it’s place it not to show normalcy, but to emphasis difference. ‘Um, well… yeah’ is a stagnate, worthless line when used many times in the same story, but when used only a few times, in a book where the rest of the dialogue says what it means, it becomes an obvious sign of embarrassment and hesitation, even fear.
So write the sort of solid, easily comprehended dialogue that allows your readers to subconsciously apply pacing, without visual cues like ‘…’ or the unless addition of yeah and well, or any other removable words or phrases.
Don’t write the exact words said. Write the meaning behind them.