𝐅𝐎𝐔𝐑𝐓𝐄𝐄𝐍𝐓𝐇 𝐒𝐄𝐀𝐓.

↬   THE  LANGUAGE  OF  THORNS,  midnight  tales  and  dangerous  magic.   (  2017  )  by  leigh  bardugo.

sentences  taken  from  or  inspired  by  the  collection’s  dialogue  &  narration.

+   feel  free  to  change  pronouns  !

i.    AYAMA  AND  THE  THORN  WOOD.

‘  love  speaks  in  flowers.  truth  requires  thorns.  ’

‘  we  all  know  the  story  of  how  the  queen  becomes  a  queen.  ’

‘  we  should  leave  this  place.  ’

‘  no  doubt  it  will  come  and  devour  us  all.  ’

‘  the  beast  will  laugh  you  right  out  of  the  wild  lands.  ’

‘  you  know  how  the  stories  go.  interesting  things  happen  only  to  pretty  girls.  ’

‘  is  the  wood  much  worse  than  a  garden  overgrown  with  pricklers  ?  ’

‘  stupid  girl  !  do  you  wish  to  become  a  monster  ?  ’

‘  strike  me.  cleave  me  in  two.  ’

‘  you’re  as  thorny  as  the  wood.  ’  

‘  there  is  but  one  rule  in  my  wood.  speak  truth.  ’

‘  perhaps  you  might  show  mercy  freely.  ’

‘  just  eat  a  bit  of  the  sun  to  fill  the  sky,  and  you  will  feel  empty  no  longer.  ’

‘  what  nonsense  !  of  course  that’s  not  how  the  story  ends.  ’

‘  some  people  are  born  with  a  piece  of  night  inside,  and  that  hollow  place  can  never  be  filled.  ’

‘  what  do  i  care  for  winter  ?  no  season  touches  this  wood.  ’

‘  you  know  the  only  bargain  i  will  make.  ’

‘  sometimes  the  unseen  is  not  to  be  feared  and  those  that  are  meant  to  love  us  most  are  not  always  the  ones  that  do.  ’

‘  bad  fates  do  not  always  follow  those  that  deserve  them.  ’

‘  no  prince  is  worth  your  life.  ’

‘  are  you  so  eager  to  be  eaten  ?  ’

‘  they  have  told  me  to  return  with  your  heart.  ’

‘  you  think  to  love  a  monster  ?  ’

‘  a  man  like  you  is  owed  no  words.  ’

ii.    THE  TOO  CLEVER  FOX.

‘  you  are  doomed  to  a  miserable  life.  ’

‘  better  to  be  hungry  now  than  to  be  sorry  later.  ’

‘  what  will  everyone  say  when  they  see  such  a  face  ?  ’

‘  we  have  not  gone  so  soft  as  that.  ’

‘  you  think  that  we  will  let  you  live  on  foolish  promises  ?  ’

‘  you  have  bested  me.  that  much  is  clear.  ’

‘  will  you  not  free  me  ?  ’

‘  you  will  have  a  fine  time  of  it,  i  can  tell  you.  ’

‘  i  can  bear  ugliness.  i  find  the  one  thing  i  cannot  live  with  is  death.  ’

‘  if  you  will  only  cease  your  talking,  i  will  gladly  go.  ’

‘  where  he  went,  he  bled  the  woods  dry.  ’

‘  what’s  a  bit  more  blood  ?  ’

‘  you  should  leave  this  place.  you  are  not  safe  here.  ’

‘  with  such  big  eyes,  i  think  you  see  too  much.  ’

‘  will  you  not  tell  me  what  troubles  you  ?  ’

‘  why  do  you  stay  with  him  ?  you’re  pretty  enough  to  catch  a  husband.  ’

‘  just  because  you  escape  one  trap,  doesn’t  mean  you  will  escape  the  next.  ’

‘  first  i  must  find  my  courage.  ’

‘  few  can  resist  the  sight  of  a  pretty  girl  crying.  ’

‘  the  trap  is  loneliness,  and  no  one  escapes  it.  not  even  me.  ’

‘  in  the  wood,  even  songbirds  must  be  survivors.  ’

iii.    THE  WITCH  OF  DUVA.

‘  there  was  a  time  when  the  wood  ate  girls.  ’

‘  be  back  before  dark.  the  trees  are  hungry  tonight.  ’

‘  who  can  say  what  shapes  an  appetite  ?  ’

‘  this  is  my  home,  you  can’t  just  send  me  away.  ’ 

‘  don’t  be  foolish.  there’s  plenty  of  light.  ’

‘  well  then,  come  help  me  stir  the  pot.  ’

‘  i  will  warn  you  just  this  once.  go.  ’ 

‘  you  cannot  come  and  go  from  this  place  like  you’re  fetching  water  from  a  well.  ’  

‘  hope  made  me  stubborn.  ’

‘  stay  there  and  keep  quiet.  i  don’t  need  rumors  that  i’ve  been  taking  girls.  ’

‘  i  will  not  have  you  bring  a  monster  to  my  door.  ’

‘  you  know  that  you  are  welcome  to  remain  here  with  me.  ’

‘  i  will  follow  her.  i  will  peck  out  her  eyes.  ’

‘  believe  me.  say  you  believe  me.  ’

‘  dark  things  have  a  way  of  slipping  through  narrow  spaces.  ’

iv.    LITTLE  KNIFE.

‘  it  is  dangerous  to  travel  the  northern  road  with  a  troubled  heart.  ’

‘  if  you  are  lost  in  your  own  thoughts,  you  may  find  yourself  stepping  off  the  path  and  into  the  dark  woods.  ’

‘  she  was  beautiful  from  the  moment  of  her  birth.  ’

‘  why  must  i  be  the  one  to  hide  ?  ’

‘  do  you  think  i  am  so  foolish  or  so  cruel  ?  ’

‘  water  only  wants  direction.  it  wants  to  be  told  what  to  do.  ’

‘  always  you  have  done  my  bidding,  but  what  good  are  you  to  me  now  ?  ’

‘  soon  i  will  be  very  rich,  but  will  i  have  a  good  man  ?  ’

‘  that  is  a  question  for  the  river.  ’

‘  your  tongue  is  not  fit  for  my  true  name.  ’

‘  will  you  come  with  me,  and  be  bride  to  nothing  but  the  shore  ?  ’

‘  she  was  terrifying  in  her  beauty,  bright  like  a  devouring  star.  ’

‘  remember  that  to  use  a  thing  is  not  to  own  it.  ’

‘  should  you  ever  take  a  bride,  listen  closely  to  her  questions.  ’

v.    THE  SOLDIER  PRINCE.

‘  this  is  the  problem  with  even  lesser  demons.  they  come  to  your  door  in  velvet  coats  and  polished  shoes.  ’

‘  you  will  find  great  love  and  more  gold  than  you  could  wish  for.  ’

‘  he’s  a  charming  fellow,  but  most  unusual,  and  peculiarities  seem  to  follow  him.  ’  

’  it  seemed  harmless  at  the  time.  ’

‘  he  needed  a  girl,  still  malleable,  one  that  he  could  make  admire  him.  ’

‘  this  is  pleasant.  this  is  enough.  ’

‘  are  you  my  soldier  ?  are  you  my  prince  ?  ’

‘  i  have  not  come  to  fight,  only  to  talk.  ’

‘  wanting  is  why  people  get  up  in  the  morning.  it  gives  them  something  to  dream  of  at  night.  ’

‘  i  am  perfectly  real.  ’

‘  she  loves  you,  though,  and  that  will  make  it  harder.  ’

‘  best  not  to  ask.  i  think  the  answer  would  please  no  one.  ’

‘  we  can  stay  forever  in  the  land  of  dreams.  ’

‘  kiss  me.  take  me  from  this  place.  ’

‘  i  sent  you  to  die  a  hundred  times.  ’

‘  i  eat  the  wonder  in  their  eyes.  ’

‘  you  were  an  idea  in  my  head.  you  were  nothing,  and  to  nothing  you  will  return  when  i  think  of  you  no  more.  ’

‘  you  wanted  only  that  i  might  live.  you  would  sacrifice  your  own  life  to  make  it  so.  ’

‘  are  you  my  darling  ?  are  you  mine  ?  ’

vi.    WHEN  WATER  SANG  FIRE.

‘  you  wish  to  strike  a  bargain.  ’

‘  make  me  someone  new.  ’

‘  this  is  the  problem  with  making  a  thing  forbidden.  it  does  nothing  but  build  an  ache  in  the  heart.  ’

‘  easy  magic  is  pretty.  great  magic  requires  that  you  trouble  the  waters.  ’

‘  no  one  expects  me  to  accomplish  anything.  ’

‘  i  can  smell  your  ambition  like  blood  in  the  water.’  

‘  i  know  that  you  should  keep  it  like  a  secret,  not  shout  it  like  a  curse.  ’

‘  yes.  i  can  imagine  it  all.  ’

‘  you  are  worth  more  than  that.  you  should  not  have  to  earn  him.  ’

‘  hope  rises  like  water  trapped  beneath  a  dam,  higher  and  higher,  in  increments  that  mean  nothing  until  you  face  the  flood.  ’

‘  there  is  no  pain  like  the  pain  of  transformation.  ’

‘  take  your  pleasures  as  you  will.  ’

‘  come,  and  i’ll  tell  you  all  you  wish  to  know.  ’

‘  he  made  me  dream  of  things  i  cannot  have.  ’

‘  i  do  not  care  for  dancing.  ’

‘  look  into  the  mirror,  and  try  to  deny  it.  ’

‘  you  have  never  been  like  the  others,  and  you  never  will  be.  ’

‘  we  were  not  made  to  please  princes.  ’

‘  i  am  not  quite  mortal  either,  and  i  have  many  lives  to  live.  ’

‘  i  wouldn’t  care  if  you  were  part  human  or  part  frog.  ’

‘  my  voice  is  not  enough.  ’

          FOR YOUR MUSE TO REACT TO SOMETHING MY MUSE IS DOING.           ↳     alternatively add     + reverse     for my muse doing it to yours.

♡     :     kissing them passionately     ,     without any explanation.

♔     :     kiss a part of their body   (   specify which one   ).

✧      :     push them up against a wall     &     kiss them.

✩      :     wake them up in the morning with oral sex.

➳     :     mark them on any part of their body     (     specify which one     ).

→     :     whisper dirty things in their ear     (     BONUS POINTS IF YOU SPECIFY WHAT.     ).

✿     :     rip an article of clothing from their body.

ϟ      :     tease a body part with ice cubes.

i deleted my old blog by mistake, so i’m revamping these!! if you want to reverse them, add a +, like so: [ PIN ] + and the roles will switch! these prompts are inspired by THIS MEME! they’re designed for all muses, regardless of whether they’ve interacted before or not!

[ PIN ] : sender pins receiver against a wall.

[ HANDS ] : our muses’ hands touch. (anything from grazing past or the hand holding content we all deserve.)

[ GAZE ] : sender watches receiver from across a crowded room.

[ GUIDE ] : in order to guide the receiver, sender presses a hand against the small of their back.

[ INVITE ] : sender asks receiver into a private room with nobody else present.

[ TOUCH ] : our muses touching one another discreetly but intimately in a public setting.

[ LICK ] : sender licks something from their thumb or lips in front of receiver.

[ SLEEVES ] : sender rolls up their sleeves to reveal their forearms.

[ SMIRK ] : while interacting with receiver, sender can’t resist a smirk.

[ NECKLACE ] : sender fastens a necklace around receiver’s neck, leaning in close to do so.

[ CLOSE ] : our muses are in a position which leads to the sender stepping intimately closer to the receiver.

[ UNBUTTON ] : due to heat or stress or other reasons, sender unbuttons the top of their shirt to reveal their neckline.

[ DANCE ] : our muses dance together in close quarters.

[ DEFEND ] : sender physically intervenes between receiver and a source of unwanted attention.

[ TEXT ] : sender texts intimate content to receiver.

[ PHONE ] : while on the phone with receiver, sender flirts teasingly during the call.

[ BEHIND ] : unexpectedly, sender arrives close to receiver from behind, taking them by surprise.

[ WET ] : our muses find one another in a torrential downpour of rain, both soaking wet.

[ LEAN ] : sender leans tantalisingly close to receiver to retrieve something or catch their attention.

[ LOOK ] : sender initiates intense eye contact with receiver.

[ ALONE ] : our muses find one another alone in an isolated setting.

[ ASK ] : sender asks receiver if they’re single.

[ WHISPER ] : sender leans close to receiver’s ear in order to whisper something to them.

[ BRUSH ] : sender reaches forward to brush a strand of receiver’s hair from their eyes.

[ STEADY ] : sender steadies receiver by placing their hands on their waist when the receiver almost falls against them.

[ SMILE ] : sender begins to grin at something the receiver is saying, like a big unstoppable grin.

[ PULL ] : sender pulls receiver into their side as they’re walking together.

[ STRADDLE ] : while sparring, sender gains the upper hand and pins the receiver in place, straddling their waist in the process.

[ BLADE ] : sender, having been enemies with the receiver, places a knife to their throat, but does nothing else.

[ STARE ] : while the receiver is speaking, the sender’s gaze drifts to their lips.

[ UNDERCOVER ] : while pretending to be a couple for the sake of a mission or other purpose, sender and receiver find themselves giving a Remarkably Convincing performance that leaves them questioning how platonic they really are.

[ AFTER ] : sender has just impulsively and passionately kissed the receiver without any warning nor apparent reason. how does the receiver respond?

[ REMARK ] : after someone passes a remark on what a cute couple the seemingly platonic sender and receiver are, the sender casts a meaningful glance at the receiver, expecting them to say something about it first.

[ PHOTOGRAPH ] : as someone volunteers to take a picture of them on a day out, sender instinctively wraps an arm around the receiver to steady them, holding them close for a photo that turns out to be more romantic than they were expecting.

[ CHALLENGE ] : after the receiver teasingly suggests that the sender is a terrible kisser, sender immediately and fervently proves them wrong with a long, passionate kiss that leaves the receiver taking back what they said.

[ LANGUAGE ] : sender begins to speak seductively and fluently with the receiver in another language.