Grrm - Blog Posts
this took disgustingly long to finish. whatever
wip! need more of boykisser aemond without it being incest PLEASEEEEE
Show Jaime:
“I know I just slept with Brienne who I have a deep attachment to, and I’m about six seasons deep into a redemption arch but Ima peace out and get crushed by rocks with my sister wife”
Book Jaime literally in the middle of reading a letter from Cersei begging him to come and save her:
“I wonder what brienne is doing right now”
George R R Martin is an American novelist and short story writer, screenwriter, and television producer. He is the author of the series of epic fantasy novels A Song of Ice and Fire, which was adapted into the Emmy Award-winning HBO series Game of Thrones (2011–2019).
01 - The human heart in conflict with itself is the only thing worth writing about. You need characters to question who, and what, they are and how they fit within the world around them. This is key for character development.
02 - Write for yourself. Following trends, or pleasing your audience in spite of your own plans, harms good storytelling. Listening to critique is good, but inevitably you must be entertained and feel your way through the writing process.
03 - Anyone can die, and death is a key part of any story with conflict. Don't give your characters any special treatment, have them play by the same rules you set upon your world. Not only does it add constant tension, but it also creates a realistic atmosphere.
04 - Sometimes an idea can just come to you. If so, do not disregard it, instead follow the idea as a writer and write it! It could either lead into an interesting project or serve as useful practice.
05 - Show don’t tell. Immersion is essential to any story. Only through visuals and vivid descriptions of your world, can your audience even start to imagine themselves in your world.
06 - Allow yourself to discover in the process of writing. While you need to know the major outcomes of the story, and character arcs, allow yourself to enjoy and be aware of your sixth sense on your way through the story.
07 - When writing a script, dialogue should never be too long. Other than a few monologues, or moments, keep it short and sweet. Also, read the dialogue aloud by yourself or with the cast, this is a simple effective way to see if it works.
08 - When adapting a novel, you’ll always lose some content. However, a good adaptation rides the fine line between cutting side content and keeping smaller meaningful moments that enrich the story.
09 - Being a writer is not a career for those who wish to be stable. It is a massive risk in every way. A true writer, even during the lows of their career, will never stop storytelling. It is essential to whom they are. So, from a beginner to a bestseller, never stop writing.
10 - The ending to an act is fundamental to keeping the audience engaged with your story. Leaving it on a cliff-hanger, or teasing the audience with a different outcome can be the best way to break up converging storylines and finished acts.
Instead of talking shit about the actors, you should complain about the real culprits for their crappy acting in the series. If the people behind hotd didn't keep insisting on this shitty fanfic that women are all victims of manipulative and evil men, and had invested in the real story of the characters, I have no doubt that all the actors would have been excellent.
Highborn sisters and brothers Part 3! Finally with our dearest asoiaf twins :D Cersei and Catelyn are basically just grown-up versions of their (eldest) daughters.
The oldish generation of highborn sisters and brothers from Westeros who are - as of now - mostly dead :D Well, there is still some hope for little Dany. (Part 2)
Here Ned and Oberyn are both in their late teens/early twentys as their beloved sisters died at that age.
The younger generation of highborn sisters and brothers from Westeros who have (mostly) the same color palette. (Part 1)
The Prophecy of the younger, more beautiful one.
I'm a huge fan of all the theories regarding the lady who will eventually cast Cersei down and I think it might be a combination of young woman and girls that all partly take away the few bits of Cersei's life that she actually cares about. While I also liked to see Lady Brienne of Tarth up in this list (as a knight whose beauty isn't skin deep but rather shines from her very soul - a fact Jaimie Lannister eventually realises) I choose the young queens and the ones that have/had potential to be a queen in the future. [Might later update this version with Shireen Baratheon who (just like Brienne) is far more beautiful on the inside and would eventually be a queen if daddy Stannies gets his claim to the iron throne.]
Princess of King‘s Landing & Princess of Dorne
Wolf girl & Little rose
Sketch
Queen Visenya Targaryen
fictional man obsession of the month:
Aemond Targaryen
no further comment
It’s interesting looking at the series’ original outline and then comparing it to what the series eventually morphed into. There’s a huge difference between how Arya in book one is written versus how someone like Sansa, Daeneryes, Jamie, or Tyrion are written in later books. Arya in GOT initially comes across as the stereotypical girl-dresses-as-boy/girl-wishes-she-was-boy trope that we see waaaay too often in fiction, especially fantasy fiction (it was everywhere in the 80′s and 90′s to the point where anything feminine in fantasy was seen as unfemminist somehow). I’m so glad the series matured and the characters with it so that we got the complex and rich story that we have with complex and well rounded characters, the types you don’t always see in fantasy.
When she opened the door to the garden, it was so lovely that she held her breath, unwilling to disturb such perfect beauty. The snow drifted down and down, all in ghostly silence, and lay thick and unbroken on the ground. All color had fled the world outside. It was a place of whites and blacks and greys. White towers and white snow and white statues, black shadows and black trees, the dark grey sky above. A pure world, Sansa thought. I do not belong here. Yet she stepped out all the same.
Its honestly sad that antis can’t understand that this line is Sansa’s character. They spend so much time debating the specifics of how spoiled, bratty, bitchy, selfish, and treasonous she is, when the reality of her character is so completely different.
She’s a young girl who, even after all these tragedies have happened to her, can look out upon a garden and be taken away by how completely beautiful it is. Despite how profoundly depressing her life has been for years at this point, despite seeing her family murdered in front of her, she instantly jumps to see how the snow has made a wonderland outside her door.
And then she thinks I do not belong here
She sees all of this beauty around her, and doesn’t think she belongs; she doesn’t think she deserves something so perfect. A far cry from the narcissistic and power hungry bitch that her antis paint her to be, she can’t even include herself in the good she sees outside.
Yet she stepped out all the same
That line says everything you need to know about Sansa. She thinks she doesn’t belong with beautiful things anymore; that she is too damaged, traumatized, or wrong to fit in with a world of whites and greys and blacks. But she steps out all the same. She so desperately wants to be a part of this world, to be a part of the beauty she sees in it. Her snow castle is her part of making something beautiful, of just being a part of the wonder she sees.
It’s just amazing to me that you could read this chapter and miss so much of Sansa’s nature. The raw innocence in which she approaches the failed Godswood is so indicative of her character, and its a shame antis can’t see it.