George R.R. Martin for Life

Huge and active Asoiaf fangirl.

[asoiafforever-blog]

Re-reading some X-Men tonight, which I haven't for a few years now. I thought Kurt's face looked cute.

[riotarttherite]

Princess Daenerys Targaryen, daughter of Queen Alysanne and King Jaehaerys I.

Princess Daenerys Targaryen, daughter of Queen Naerys and King Aegon IV, and wife to Prince Maron Martell.

Princess Daenerys Targaryen, daughter of Queen Rhaella and King Aerys II, and wife to Khal Drogo.

[l-a-s-t-o-r-d-e-r]

[asoiafforever-blog]

[the-right-writing]

Things almost every author needs to research

How bodies decompose

Wilderness survival skills

Mob mentality

Other cultures

What it takes for a human to die in a given situation

Common tropes in your genre

Average weather for your setting

[clevergirlhelps]

yoooo

How bodies decompose

Wilderness survival skills

Mob mentality

Other cultures

What it takes for a human to die in a given situation

Common tropes for your genre

Average weather for your setting

[lingi-15]

Michael & James’s filmography!!

[scottymcgeesterwrites]

Tales before Tolkein

Back when The Lord of the Rings started coming out in theaters, every fantasy nerd in my school started reading the books. I unfortunately couldn’t get into them. I was too much of a Star Wars nerd and couldn’t get into the thick, archaic writing of Tolkien. I felt especially bad since mom had bought me a set of the trilogy and I didn’t touch it for years because – goddammit – I wanted to fall asleep while reading it. But like a fine wine, Tolkien grew on me, and tasted far better when I was older and able to appreciate more things. I read The Hobbit and it’s probably the one book I’ve reread multiple times. It’s just so readable. I still haven’t had the time to really focus on reading the entire Lord of the Rings trilogy, because there are other things on my backlog of books, but I did read through The Fellowship of the Ring and then found myself really loving The Children of Húrin, the latter being edited by Tolkien’s son Christopher.

I then realized that I really started to like this sort of thing - not just high fantasy but old high fantasy. Sure there are plenty of epic fantasy sagas now – they come out a dime a dozen. But I’m talking about that special archaic glint that Tolkien had - where you feel as though you are reading actual mythology with its fanciful prose.  Tales Before Tolkien is actually the title of a compilation of old fantasy stories. When I bought the book, I was actually quite disappointed. With a few exceptions, these weren’t tales that directly influenced Tolkien, nor did it feel Tolkienesque, so it was a bit misleading. It was just a hodgepodge of old fantasy stories.

So I went off searching and even bought some of these books from the following authors, and maybe if you too are a Tolkien fan who wants something Tolkienesque, some of these could suit your fancy. With one exception, these entries were written before Tolkien ever published anything, and most did indeed influence him. William Morris

The British poet and writer probably created the very first high fantasy novel way back in 1896, which Tolkien and C.S. Lewis read when they were in college – The Well at the World’s End. The story involves Peter, King of Upmeads, and his four sons, Blaise, Hugh, Gregory, and Ralph. These four sons decide that they would like to explore the world, so their father gives them permission, except for Ralph, who is to remain at home to ensure at least one living heir. However, Ralph secretly departs, contrary to his father’s orders.There aren’t exactly any fairies or even monsters; the story is pure medieval romance. Ralph goes from adventure to adventure saving a princess and fighting knights, even confronting an evil lord named, uh, Gandolf. Gee, that uh, sounds vaguely familiar.

Lord Dunsany

Otherwise known by the fancy title – Edward Plunkett, 18th Baron of Dunsany. He is known to have had a great influence on Tolkien. He is seen as the progenitor to all things Tolkien. His notable works include:

The Gods of Pegāna

Time and the Gods

The Sword of Welleran and Other Stories

Tales of Three Hemispheres

The King of Elfland’s Daughter

Most of these are a collection of short stories, some taking place in his fictional realm of Pegāna. Those stories read like The Silmarillion; chock-full of myth and epic tales.

E. R. Eddison

His most notable work is The Worm Ouroboros – taken mostly from Norse mythology. The book takes place in a fantasy world similar to Earth. Some characters even call it “Middle Earth”, which is actually a term from Norse mythology. The book blends Norse storytelling with medieval warriors and Elizabethan drama.

Robert E. Howard

                               (Artwork by the legendary Frank Frazetta) Ah, this was the shit I grew up with instead of Tolkien – Conan the Barbarian. Kull, and Solomon Kane.

Robert E. Howard single-handedly crafted a genre that became known as “sword and sorcery”. It’s different from the high fantasy of Tolkien in that it focuses on the action, personal storylines, and sometimes the world building isn’t always clearly defined. But Robert E. Howard has dark, brooding prose that keeps you hooked.

I figured I’d include it anyway because imagine if Quentin Tarantino wrote The Lord of the Rings. You would get shit like Conan the Barbarian. Blood and guts and tits and asses. Hell yeah. Illustrations of thicc chicks. Hell yeah. BOOTY. We’re talking DUMMY THICC

Okay I’ll stop now.  Most of his work isn’t really in novels – they’re mostly short stories. His stories were recently collected in volumes published by Ballantine Books. The Coming of Conan the Cimmerian is the starting point for Conan stories. Kull: Exile of Atlantis was a lesser known prototype of Conan. Solomon Kane is more modern as it’s about a wandering badass Puritan battling fiends and demons, like a sort of Van Helsing.

H.P. Lovecraft

You can’t really mention Robert E. Howard without getting into H.P. Lovecraft. The two go hand-in-hand. While Robert E. Howard created pulpy fantasy stories, H.P. Lovecraft did something far more weirder that’s difficult to put into a single genre. It’s not exactly horror, although many of the characters fall into madness. The madness comes from the giant cosmic horror that is Cthulhu – a forgotten malevolent deity from space. Most of his stories deal with aliens from other dimensions – but these aren’t typical little green men – these are abominations of nature with no discernible shape or description. Virtually every tale has that classic, archaic touch. The characters are often distinguished, intelligent men of discovery who otherwise lose their sanity when facing the unknown and bizarre. There’s a lot to read about ancient civilizations and lost expeditions.

Lloyd Alexander

Ah, this is another fond memory of childhood. While everyone read Harry Potter and Lord of the Rings during the height of their popularity, I read The Chronicles of Prydain by Lloyd Alexander – a series of five books. This is the one exception on the list of fantasy tales created before Tolkien.

These stories began with The Horned King, published in 1964. They have largely been forgotten except for The Black Cauldron, which became a Disney movie back in 1985 (unfortunately, it’s mediocre at best – though the animation is admirable). The series is actually geared towards children. I like to think of it though as a teenager’s option to something like C.S. Lewis’s Chronicles of Narnia. There’s more explicit action and the adventures are darker and more dangerous. The series follows the young farmer Taran, who one day tries to find his lost pig which happens to have clairvoyant powers. The setting is the mythical land of Prydain, which is really meant to be mythical Britain. Prydain was actually one of the old names for the island of Britain, but the Romans Latinized it. Most of the older characters, such as Arawn Death Lord and Gwydion come from Welsh mythology. Fun fact: Lloyd Alexander coined the term “high fantasy”.

Anything King Arthur

Well, not just anything – I’ll be listing specifics. A couple years back I went psycho reading anything King Arthur. It mostly had to do with doing research for a fantasy novel that I want to write that involves King Arthur.

The history of the legend of King Arthur is shrouded in mystery and very fractured, more fractured than people realize. There’s a book that changed my entire perspective on the legend called Finding Arthur: The True Origins of the Once and Future King by Adam Ardrey, which I highly recommend if you’re really interested in the subject. It’s a fascinating alternate theory based on linguists, saying that King Arthur was Scottish, not English.

In that book I learned about The Death of King Arthur, but NOT the Thomas Mallory version we all know and love. This was an epic poem written around 1400 A. D., also known as the “Alliterative Morte Arthure”. If you like reading epic medieval poems like Beowulf, then the “Alliterative More Arthure” is another epic poem just like that. Also, sidenote, John Steinbeck actually wrote his own version of King Arthur, titled The Acts of King Arthur and His Noble Knights.

T. W. Rolleston

On a final note, let’s go back even further. I have an old tattered copy of T.W. Rolleston’s Celtic Myths and Legends. I pored through that book back in high school, wanting to learn more about the subject. This was my go-to handbook about everything Celtic. There was a time when I carried it with me everywhere I went. It’s a FANTASTIC book. The first quarter goes through a short history of the Celts, their beliefs, and the archaeology. Then the rest of the book is a retelling of virtually all the myths and legends – from the Tuatha Dé Danann to the giant-king Balor. Many of these myths are fictionalized in Lloyd Alexander’s Chronicles of Prydain. It’s a bit dated by now but still a great introduction.

[asoiafforever-blog]

Gonna attempt to start writing content for some of my favorite characters and pairings because god damn it, instead of whining internally about there not being enough content, I'll finally do something about it.

[septembercfawkes]

What You Need to Know Most About Character Voice

I’m kind of embarrassed to admit I didn’t have much of an understanding of character voice two years ago. I’m an English graduate, and none of my professors in college really talked about it. I think I remember learning the definition in high school and reading it briefly in a few writing tips.

In truth, I’ve probably heard the fact that “voice is one of the biggest draws for getting an agent or editor” more than I’ve actually heard tips on writing voice. Since then, I’ve gotten to the heart of what voice is. Or so I think. You’ll have to judge for yourself. Here’s what I found for anyone who might be struggling like I once was, or anyone who wants to learn more. The stuff in this post is what helped me bring that elusive voice into focus.

First, by definition, “voice” can refer to the writer’s style, the narrator’s style, or, your characters’ persona, thoughts, speech patterns, and word choice.

Sometimes when people think of character voice, they think of first-person narration, but really, all characters have a voice of their own, even if they aren’t telling the story. To illustrate, here are three lines from Harry, Ron, and Hermione:

“Don’t go picking a row with Malfoy, don’t forget, he’s a prefect now, he could make life difficult for you…”

“Can I have a look at Uranus too, Lavender?”

“I don’t go looking for trouble. Trouble usually finds me.”

If you’ve read the books, I bet you can tell who said what.

Voice is made up of two things: What the character talks (or sometimes thinks) about, and how she says it. In other words:

What the Character Talks about + How She Says it = Voice

Hermione believes in following rules and frequently tells Ron and Harry to do likewise. She’s also very logical and intelligent. In the first line above, she chooses to warn Harry, and then explains, logically, why he should heed her warning. Ron usually says those comical one-liners, and his language is usually a little coarser than the other two, so his quote is the second one. Because Harry is frequently accused of things, he often has to defend himself, “I don’t go looking for trouble.”

  What Your Character Talks About

So, What does your character choose to talk about? What does he not talk about?

In Lord of the Rings, the Hobbits often talk about food. They’re Hobbits, so they eat a lot more than the other characters and therefore food is important to their culture. Because they bring up food a lot, we know that’s what they are thinking about on their journey. They don’t casually strike up conversations about advanced battle tactics; they don’t have a war-based background. And any conversation they do have about battle tactics wouldn’t be on the same level as a warrior. So their background, culture, interests, and experience influence their voice.

If your character is a nutritionist, she might look at her lunch and talk about complex carbs, protein, calories, and vitamins. A fashionista might notice that her best friend is wearing this season’s color. A dentist might see people’s teeth first.

Remember, what your character chooses to talk about reflects what he’s thinking about. I know that sounds obvious, but have you really considered it? If your character says something, it’s also conveying to your reader what’s on his mind at that moment.

You can work that to your advantage by having your character say something surprising in a specific situation. If I have a character break up with her boyfriend, and she’s crying, and someone tries to comfort her, and she says, “It’s not Zach so much. Now I have to go to the dance looking like a complete idiot.” Not only is the response surprising—she’s not crying over the loss of Zach, but her potential embarrassment—it also reveals character—she’s more concerned with her image than the loss of her significant other.

Having that specific line stated in that situation conveys a lot about the character and her relationship with her boyfriend. It conveys what she’s thinking about most.

In Part 2 of this,  I’ll delve into how characters talk, mentioning some of the potential problems and a few minor techniques you can use for a character’s voice.

UPDATE: Read Part 2 here

[septembercfawkes]

Since I have change my username this post has been having problems, so, I’m reblogging it with some tweaks that I hope will help.

[writingsfromspace]

I don’t remember if I reblogged this before so here it goes :D

[turtleduckie]

Based on this post by @danyllura 🐺

[nyarnamaitar]

I’m going to be honest here, I was just as angry, disgusted, and shocked as the regular GoT fan when it became clear that the show was heading towards a Mad Queen!Dany ending. My anxiety flared up. I felt like I was seeing a nightmare play out on live television. I hurt for Dany and for our flailing fandom. 

However, I must admit that an ugly, tiny part of me was experiencing some Shadenfreude. Since the release of S5, I’ve been convinced that D&D are shitty writers. Don’t get me wrong, the first four seasons were by no means perfect, but it was only while watching S5 that I started having serious doubts about GoT’s overall quality. The Dorne storyline, Sansa’s rape arc… Etc. 

But when I voiced those doubts to both friends and family, I was mocked. After all, GoT is the best show on earth, right? …Right? Even when the show turned Dorne into a racist joke (Remember “You want the good girl, but you need the bad pussy”?), even when D&D had Ramsay rape Sansa for shock value, people were still defending this mess. And they continued to do so up until S8 aired. 

Don’t get me wrong, S8 was bad. Really bad. Even S5 was pretty decent compared to what we’ve been served in S8′s episodes 4-6–and that’s saying much. But I’d love it, if both critics and fans realised that GoT hasn’t been all that good for years now. S8 doesn’t exist in a vacuum and shouldn’t be treated as an exception in D&D’s repertoire.

[mytly4]

*Sigh* Exactly. I get that many people felt especially betrayed by season 8, but to me it was just slightly worse than the previous 3 seasons, which were already excruciatingly bad. Frankly, the only thing that surprised me about season 8 was that D&D managed to write a stupider storyline than the seasons 5 & 6 Dorne plotline or the season 7 wight hunt, and a more offensive storyline than Sansa’s season 5 rape - I wouldn’t have thought that that was humanly possible.

I hate what they did to Dany in season 8, but frankly, the clues were already there all way back in season 2. Not of her turning into a villain - that came out of fucking nowhere - but the clues that D&D neither understood nor cared about her character in the least. They had her act like an entitled brat in Qarth rather than the savvy politician she is in the books. As the seasons continued, they constantly undercut her intelligence and compassion, and took away her achievements and gave them to her male followers. In season 6, for instance, they took away her entire storyline (of ruling Meereen and trying to forge a peace) and gave it to Tyrion (who proceeded to make a complete mess of it, and yet was rewarded for it). They constantly had pro-slavery characters like Hizdahr out-argue her - even when their arguments were full of crap - just to make it look like she was wrong to try to abolish slavery.

The prophecies and messianic imagery that surround her in the books were almost completely excised from the show; for instance, the Prince That Was Promised prophecy is mentioned in connection with her only once (in season 7) and then dropped completely. Quaithe does not interact with her at all, never mind prophesize at her. Dany receives no prophecies in the House of the Undying. She has no highly symbolic dreams. Book!Dany has been built up to be one of the saviours of humanity, though dreams, prophecies and a whole lot of symbolism; Show!Dany lacks all of that. And without that, she comes across as just another political player of the game of thrones, not as someone who’s playing on a different battlefield entirely, as in the books.

The mass-murdering mad queen of season 8 had plenty of foreshadowing - not in the character’s own actions, but in the showrunners’ utter disdain for her and what she stood for. It baffles me that so many Dany fans can’t see that.

(And it baffles me that so many fans think that this is the ending GRRM has in store for Book!Dany. Why would he go through the trouble of surrounding her with so much messianic imagery if he meant for her storyline to conclude entirely in the political realm?)

[asoiafforever-blog]

Taking a day off to get comfy and finally start the His Dark Materials series. Hopefully I can finish it before the TV adaption airs.

And yes, my font size is this big.

[ladybingley]

I would need to steal her if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. Val would want to keep her sister’s son, but we could foster him at Winterfell, and Gilly’s boy as well. Sam would never need to tell his lie. We’d find a place for Gilly too, and Sam could come visit her once a year or so. Mance’s son and Craster’s would grow up brothers, as I once did with Robb. He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily.

[hyba]

T I P S Y : SPLITE for Worldbuilding

Hello, everyone! ^^ I’m back with a special Tipsy this Tuesday. I want to share this nifty little table I used to use back in high school for my AP World History course. Whenever we analyzed a civilization, we would use a SPRITE table. SPRITE stands for Social, Political, Religious, Intellectual/Ideological, Technological, and Economic. 

I’ve changed this so that it’s a SPLITE table (so it’s now Social, Political, Locational, Intellectual/Ideological, Technological, and Economic). The reason that I replaced the Religious with the Locational is because I felt it made more sense from a worldbuilding point of view to put more emphasis on geography and location. I wanted to present a really basic, essential look at creating fantasy worlds, and location really plays a big role in what it takes to build a world. A fantasy world can be built without religious considerations, but it cannot be built without locational considerations. A story has to take place somewhere, after all, and usually that somewhere has huge bearings on the story itself.

So, before I start rambling on about details, here’s the poster that I created for you to be able to download and use! ^^ (Tumblr reduces quality, so when you click on it you’ll find that it’s actually really high quality, so go on ahead and right-click, download, and use it to your heart’s content!) (For a PDF version, scroll down to the bottom of the post.)

Those are a lot of questions! I squeezed as many as I could in the boxes. Can you tell? ^^’ It’s a bit crowded. 

As an overall look at worldbuilding, this should be a good guide to help you get the civilizations in your worlds ready for those discerning readers of yours who’ll want to know more! 

But there’s more! Keep reading ^^

Keep reading

[leave-her-a-tome]

(source)

Unsplash -  photography, illustration, and art

Pixabay - same as unsplash

Pexels - stock photos and videos

Stockvault.net - stock photos

Veceezy - vectors and clipart

Getdrawings - simplistic images and drawing tutorials

Gumroad - photoshop brushes (and more)

Canva - needs login but has lots of templates

Library of Congress - historical posters and photos

NASA - you guessed it

Creative Commons - all kinds of stuff, homie

Even Adobe has some free images

There are so many ways to make moodboards, bookcovers, and icons without infringing copyright! As artists, authors, and other creatives, we need to be especially careful not to use someone else’s work and pass it off as our own. 

Please add on if you know any more sites for free images <3

[masterthespianduchovny]

Sansa Stark, the benevolent white woman fantasy

For years, I theorized to myself that many of Sansa’s stans justified and vehemently defended her behavior because they saw themselves in her, specifically white girls and women. Sansa is beautiful, delicate, polite, and well meaning. Every once in a while she has a well placed zinger, but she is unoffensive and doesn’t challenge the system–she embraces it. 

Either the second or third episode of the 8th season, after many posters, including myself, criticized Sansa’s behavior towards Dany, a woman (presumably white) wrote a heartfelt comment that got many love reactions. She literally talked about how she related to Sansa (she wasn’t referring to the abuse), especially because there was nothing special or magical about her. I can’t remember everything she said minus thinking that comment had nothing to do with anything and that, of course, all of Sansa’s bullshit is justified because someone related to her.

There isn’t anything wrong with relating to Sansa, the issue lies in the inability to criticize her actions and narrative function. It’s how everything she does is excused and she’s framed as the only person who ever had anything bad happen to her. It’s the constantly demonizing/shitting on other female characters and claiming misogyny is the ONLY reason she’s hated.

It’s the fucking audacity of fans to say shit like, “Sansa doesn’t want another white woman ruling over her” as if Sansa isn’t a fucking privileged white woman. It’s accusing Dany of white feminism when Sansa and her stans are peak white feminism. It’s calling Dany a colonist and imperialist as if Sansa wasn’t and isn’t reaping the benefits of those things by the end of the show. It’s trying to frame Dany as a racist when Sansa expresses contempt for foreigners (brown people) and wants to maintain a land of whiteness.

Constantly, I read about how much Sansa has suffered as if no one else in the fucking series has suffered. I don’t want to fucking debate who’s suffered more because that shit doesn’t matter, but apparently, the more you suffered, the more your shit is excused and the more you “deserve.”

But, let’s get one thing clear: as tragic as Sansa’s abuse and trauma is, she’s far more privileged than Dany. Which is why focusing solely on Sansa’s abuse and trauma is bullshit IN THAT CONTEXT.

Sansa grew up in a loving two parent home surrounding by siblings and never wanted for anything. Sansa’s parents were protective over her. Sansa never worried about food or being harmed. Sansa had servants. Her life was stable.

Dany grew up on the streets begging for food and always moving from home to home because there was a target on her head. Dany’s parents were dead. Dany was abused by her own brother. Her life was unstable.

So, please, keep explaining how Dany is a privileged white woman. Her major privilege was her last name, but this was a double edged sword because people either wanted to kill her or claim she was mad.

Regardless, Sansa had everything that Dany did not. Sansa dreamed of being a queen, Dany did not. Sansa grew up in a loving home; Dany was ripped from her home, brought to a foreign land, and was homeless. Sansa legitimately has a place to call home and what does Dany have–or had? 

Sansa has a family–people who are literally willing to kill for her. And Dany had herself. Everything she fucking had she got on her own. Not because of her brother fighting a battle she guilted him into or a creepy “uncle” who is in with her or a king brother granting her independence. 

No, Dany had three dragon eggs that were dormant for over 200 years that she walked through the fire to hatch herself. She inspired people from various lands and kingdoms to follow her. Although she was a Targaryen, most didn’t follow her because of her name, but because of who she was as a person. She challenged the status quo. She cared for others who came from different backgrounds and didn’t look like herself. She learned their languages and customs–they had a place in the new kingdom she was trying to build.

And Sansa…”fuck you if you ain’t us.” Sansa didn’t just want Dany out of the North, she wanted the Dothraki and the Unsullied out of there too. The brown people. Just like Dany, they didn’t do anything for her, except protect their North and lose their lives in the process. Sansa only cared for the North and, if you’re a decent person, that’s not how you do things. Hell, that’s not how her parents did things.

But, like I said, Sansa is the benevolent white woman fantasy. She’s supposedly more caring and understanding, so her actions, no matter how dubious, automatically means it’s for the greater good of others, right??

It’s okay that she didn’t tell Jon that the Vale may be coming, despite his clear and obvious feelings of anxiety and desperation. I mean, what if he messed it all up even though Sansa never gave him the opportunity to make an informed decision.

It’s okay to lob insults about Jon being sexist, despite her being in the battle war planning and having an opportunity to speak, but chose not to. And then, when she did, she gave vague warnings.

It’s okay that she baited Jon into fighting her battle for Winterfell by mentioning Rickon only to tell Jon not to fight for him because “he’s dead anyways”, which is another example of her withholding information.

It’s okay that she almost killed her sister, despite knowing the man who has helped her is a master manipulator and is on a quest for power. The man she saw kill her aunt, and then lie about why. The same man who kissed her and told her that he was in love with her mom. 

It’s okay that she made a promise to Jon in front of the weirwood, and then broke it because she didn’t want Dany to have power. 

These same people pretend they are pro woman, but don’t hesitate to shit on other women when given a chance. In addition to dragging Dany–even before the BBQ’d KL–they also hated Arya for a long time and some still do to an extent. Some of them only came around because Arya and Sansa made up and Arya has killed for and defended Sansa. Oh, but before that, they were calling her a psychopath and heartless–yet, Arya has some of the most meaningful relationships between the two of them. Okay…

Dany is rejected because she’s trying to dismantle the system. 

Arya is rejected because she doesn’t and refuses to fit inside of the system.

But, Sansa…oh, Sansa, the only change that she wants to make is to rule a kingdom of her own. She’s beautiful, gentle, and her anger is pretty–it isn’t ugly like Dany and Arya’s. She’s incredibility feminine and wants to protect her home and people even if that means putting others in harms way or being hostile to people who helped her–it was for the North’s wellbeing, you have to excuse her!

Sansa is a projection and to admit that she’s flawed, backstabbing and underhanded, and for herself means to admit that they, her fans, are as well and that their feminism is performative. It means that they are mediocre and won’t ascend to the heights they want to.

Granted, there a WOC who are stans of Sansa and vehemently defend her, but there is a cognitive dissonance there as well. I’m not saying that WOC cannot or should not like Sansa, I’m saying there is no way you can lob criticism at Dany that doesn’t apply to Sansa and, at times, tenfold. It’s okay to like Sansa and it’s okay to defend her at times, but there is an inherent hypocrisy to hating Dany for the same reasons they love Sansa. Or how they’re critical of Arya for breathing, but are “pro woman.”

Because, no matter how much white women fuck over other people–including their fellow white women, they see themselves as good and kind and that’s why it’s a fantasy. Since they see themselves in Sansa, she cannot be bad or flawed. They can list all of the shit that happened to Sansa, like themselves, and what she’s doing for others, yet, conveniently, they either don’t know what the others did or downplay their acts of kindness and goodness.

I just need her stans to quit the fucking crap.

Sansa is one of the worst “good people” in GOT and that’s based off of character alone.

[asoiafforever-blog]

Lol I love this guy