sine lucro friget ludus

There is a character named Robert Thomson.

At work, he's known as Robert by his coworkers and Thomson by his boss. At home, the people in his neighborhood call him Rob. His parents, spouse, and closest friends call him Robbie. His best friend from childhood calls him Robbie and also sometimes calls him Roberto. The children in his neighborhood call him Mr. Rob but when he does volunteer work at the library the kids there call him Mr. Thomson. Children in the wild who don't know him personally call him sir. When he goes to anywhere with reception, he's typically addressed as Thomson.

in actuality the 'key five' is an idea that is Only used to perpetuate stan wars and exclude sansa as an important figure within the narrative in her own right. sansa has been a major pov in every book from book 1 yet ppl write her off as not as important as XYZ (oft a character that appears in her povs such as littlefinger). shes not a 'camera' shes a rich character with a deep inner world which requires thought to truly understand as well as often being an unreliable narrator like every other pov in the series and im tired. of ppl pretending shes only there as set dressing

theres also the fact that people consistently use the draft as a reason as to Why sansa is unimportant. the same draft which didnt feature one of our primary antagonists and had sansa have a baby by an abuser which is now well and truly dead. its clear that grrm is well beyond the draft and people can accept that for every character besides sansa which is insulting atp

Tumblr, I need you to all look upon my new Lymond Chronicles tattoo.

The Crawler is composed of all these incredibly minute, specific details of texture and appearance. They’re kaleidoscoping—some readers use the word 'abstract.' But in actual fact, it is what the biologist is seeing and experiencing. If she has any failing, it’s because she’s trying to convey the tactile experience of constant morphing. That’s a challenge for the novelist: you have to have readers experience it viscerally. You cheat because you can never really be in a character’s head. The biologist, left to her own devices and not required to be the protagonist of my novel, would be doing field notes. But a character is an artificial construct. You’re not including all of them, just trying to get as close as you can so that you’re still creating narrative as opposed to moments.

[James Joyce’s] Ulysses probably gets closest to recording moments. I admire it, but it’s also hard to read because you don’t know what has importance and what doesn’t. To some degree, Ulysses abdicates the novelist’s responsibility to actually choose the elements that are in the novel in favor of some other idea of what a novel is. I admire that as well. Novels are made of approximations—that includes the description of the Crawler. In theory, the biologist might have later done field notes that were more clinical, not this 'in the moment.' But for purposes of a novel, which has to have scenes, you get panoply, montage."