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Azriel:

𝓗𝓪𝓹𝓹𝔂 𝓢𝓾𝓷𝓭𝓪𝔂, 𝓖𝔀𝔂𝓷𝓻𝓲𝓮𝓵𝓼! 💖✨

With all the excitement and anticipation of the new ACOTAR books, we thought it would be fun to play a little music themed ask game with our community.

If you see an account reblogging this post, send them an ask using the numbers below! 💖🎶💖

What song immediately makes you think of Gwynriel?

What do you think music and singing means to Azriel?

What do you think music and singing means to Gwyn?

How do you think music will play a role in Gwynriel’s story?

How do you think the shadows react to Gwyn’s singing vs Azriel’s singing?

Why do you think SJM connected both Gwyn and Azriel to music?

Who controls the aux in the car, Gwyn or Azriel?

What’s a music related headcanon you have for Gwynriel?

Name a song you think would go on Gwynriel’s workout/training playlist.

Do you have a favourite Gwynriel fic or fanart that was inspired by a song?

I'm going to try it.

First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.

What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.

This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*

If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.

*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.

This is also where you want to pay attention to verbs of being.

you want to pay attention

to verbs of being.

That means that when you read a line like

John saw that the curtains were open.

It immediately takes you OUT of the character's perspective and instead tells you what they experience as a secondhand observation.

You don't have to get fancy or purple with how you rephrase things like this. Not everything needs a ton of breathing room.

You wanna know what's perfectly impactful while keeping a tight POV?

The curtains were open.

Symphonies are written in four movements! SJM is often inspired by music!!

Here's an explaination of the first movement

1. The First Movement: Sonata-Allegro Form

The first movement of a symphony is usually in sonata-allegro form, a structure that balances both drama and coherence. This form consists of three main sections:

– Exposition: The composer introduces the main themes of the movement. Typically, there are two contrasting themes (or theme groups): the first in the home key (tonic) and the second in a different key (often the dominant or relative major/minor). The exposition usually ends with a closing theme or a codetta.

This would lay out our POVs!

Home Key = Night Court? The story's home so far??

Second Different Key = another court or location?? We have Autumn, Day, Vallahan, freaking Dusk/Prison, soooo many places to hear about!

– Development: The themes introduced in the exposition are explored, expanded, and transformed. This section often involves modulation to different keys, creating a sense of tension and exploration.

Tension and Exploration? Modulation to different keys? Keys = POVs? Big if true...

– Recapitulation: The original themes return, but this time both are in the home key. This section resolves the tension created in the development and brings the movement to a satisfying close. Sometimes, a coda is added to provide a final sense of closure.

Two main POVs come together in the same place (key) to RESOLVE THE TENSION and PROVIDE CLOSURE.