#so pick up that book and read it

[expectiations]

Why you should read the Day of the Doctor novelization

10 and River in a bath

River

River

just, you know, mentions of River that weren't in the show

inner monologue of the Doctor about River

the Doctor saying "I'm Mr. Moon!"

River

moments with River that weren't in the show

[lazylittledragon]

ok someone please correct me if i'm wrong but am i weird for thinking those 'audiobooks don't count as reading' posts are ableist as fuck????

[piosplayhouse]

"Oh dear," the unicorn thought. "I must've really mucked up the story beyond compare! The Red Bull Luo Binghe is protecting the last unicorn scum?! Unconscionable! He should have driven me off the cliff by now!!"

[somegrumpynerd]

Dust's nightmare

Dust has nightmares about fighting and killing here and there, but the ones that really stick with him are the ones that are just... memories. Things he can never have again.

What he can have though, is a distraction when he wakes up to help him settle and make sure he's not alone with his thoughts for too long

[arthursfuckinghat]

You know, whenever I see the discussions around Jack Marston possibly getting drafted in world war one, I can't help but physically ache at the thought of it.

Jack Marston, born into a gang that honoured freedom above everything, forced to sacrifice everything he has left for war.

Jack Marston, a boy who read about knights and soldiers, now forced to become one in another fight he never asked for.

Jack Marston, raised to be away from a life of violence, but now the world has found a way to drag him back in.

No matter what happens, Jack would have to face a really tragic dilemma. Does he go to war and sacrifice the legacy of freedom he was raised with? The life his family died for? Or refuse and be labeled a criminal, putting his parents to shame and repeating the same cycle his father went through?

It just tragically mirrors the struggle he’s always had - trying to find his own identity outside the legacy of John Marston, and the violence that came with it. But he's being pulled back in, no matter what he chooses.

He was never made for the violence that shaped his parents' life.

[gorgonsagainstrape]

do you think forgiving rapists / abusers is necessary for healing? i've been reading a lot of essays and articles that all basically boil down to the same thesis: i couldn't heal until i forgave him. many of them also say that they wanted to reject the idea that survivors are all angry and want their rapists / abusers to die, which is something i have been struggling to find anywhere. there's margaret cho [Margaret Cho Explains Why She Wants To Kill Her Rapist] but beyond that i couldn't find much on this topic aside from people criticizing it.

there seems to be a consensus that all survivors want is accountability. all they want is their rapist / abuser to admit they did it and apologize. and then that's it? what about the research that sex offenders cannot be rehabilitated? there is no known program to rehabilitate sex offenders that works in any meaningful way. they go through the program(s), learn how to game the system, get released, and immediately go back to harming women and girls.

why is it so taboo to hate them? hating them doesn't make us the same as them. it's quite literally the opposite. they love the violence they do and we abhor it, there is no way anyone can look at it and say our hatred is just as bad as theirs. we hate them for what they do, they hate women and girls for what we are. massive difference. if they don't want to be hated, they shouldn't rape. it's that simple.

i think a reason why it's generally frowned upon to want any kind of meaningful justice or to hold any rage or hatred in your heart for rapists is because men as a whole are aware of how many of their own are rapists. they know that if every rapist was imprisoned or killed, there would be maybe 5% of men left in the general population. and that scares them. i wish we lived in the world they think we live in, the one where being a rapist and being called out for it means your life is ruined or even ended. wouldn't that be nice.

[hragon]

please read Divine Rivals

[ramblings-of-lola]

Just want to put this out there: you are not less of a fan if a movie or show adaptation led you to reading the books.

[outism-had-a-purpose]

cant believe this fuckass gacha game got me reading. classic literature.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[teabutmakeitazure]

Chrollo doesn't understand why you don't react to him the same way you do to the books you read. To him, you groan and look away before doing everything in what little power you have to move away from him, but while reading those books, you flush and giggle adorably, smile plastered on your face for a considerable amount of time.

When he pins you to the wall while conversing, you're quick to duck under his arm and get away with a quite random excuse, but reading about the same gesture being done by the male lead in a book makes you sigh happily. Is his execution wrong? Should he flirt with you more? The previous try at that had been a disaster with you calling him creepy.

Maybe he should slowly work his way up, classify the gestures and actions into categories of teasing and more intimate. He could start testing the waters with the former and slowly work up to the latter, making the eventual victory of finally, finally getting you to flush and fluster with a non-sexual act all the more sweeter.

[communistkenobi]

I’m reflecting on cesaire’s work again and one of the little flourishes he does in discourse on colonialism is that he says the west will have to answer for its crimes against the human community. and I especially love this line because he’s using the same bourgeois universalising language that the imperial core so often does (“human rights” “freedom and justice for all” “spreading democracy across the globe”) but as a cudgel against the west, to reframe the human community as all those who lay outside of it. anyway I think everyone should read discourse on colonialism

[blimbo-buddy]

What is it about Warriors writing that feels so clunky and unnatural. Is it how expository it is, there’s for sure something wrong with the prose that makes reading these books a total slog to go through.There’s always something that they need to emphasize that doesn’t need emphasizing at all.

Say we have a scene where one of the characters notices MothWing still mourning HawkFrost a while after his death, with clear acknowledgement from the audience of the time skip: It’s never “MothWing felt a stabbing pain in her heart for HawkFrost” it’s always “MothWing, even after several moons, felt a stabbing pain in her heart for HawkFrost, her brother”

[likeabxrdinflight]

tired of early 20-somethings acting like harry potter was never good or had no value in its day like shut the fuck up half of you weren't even there when it peaked

[haveyoureadthisbook-poll]

what are your 3 favorite books you’ve read so far this year?

most books ive read so far have been between okay and good so i dont have that many options

This Is How You Lose the Time War by Max Gladstone and Amal El-Mohtar

My Dark Vanessa by Kate Elizabeth Russell

Yellowface by R. F. Kuang

I wouldn't say favorite, but very informative and accessible:

The Hundred Years' War on Palestine by Rashid Khalidi

What about you, any recommendations?

[the-lake-lily-alchemist]

Dany’s vision of Rhaegar in the HotU

So, I want to beat an already dead and over-beaten horse, and talk a bit about Dany’s vision of Rhaegar in the House of the Undying.

Now, I want to preface it by saying that I know this subject has been talked about thousands of times and it’s boring and tiring to talk about the same shit over and over again, but I just saw “Rhaegar is a prophecy-obsessed groomer/rapist” discourse on my twitter feed and thought I’d toss my two cents in.

Firstly, let’s look a bit at this vision as it appears in the books, shall we?

Viserys, was her first thought the next time she paused, but a second glance told her otherwise. The man had her brother’s hair, but he was taller, and his eyes were a dark indigo rather than lilac. “Aegon,” he said to a woman nursing a newborn babe in a great wooden bed. “What better name for a king?”

As we can see here, Dany, on her quest to find her children, stumbles upon this little moment long past. The text tells us that the three people shown here are Rhaegar, his wife Elia, and their son Aegon.

“Will you make a song for him?” the woman asked.

“He has a song,” the man replied. “He is the prince that was promised, and his is the song of ice and fire.” He looked up when he said it and his eyes met Dany’s, and it seemed as if he saw her standing there beyond the door.

This passage specifically has been interpreted numerous times. The text tells us that Rhaegar thought that his son, Aegon, was The Prince that was Promised. However, Rhaegar looks up when he says the prophecy, and looks directly at Dany, as if talking to her.

This to me reads as not-very-subtly being told the answer to the prophecy. Dany is TPTWP, as the author tells us through vision-Rhaegar. Thus, she is made aware of the prophecy, part of which we can find in the title of the book series.

I’ve seen the theory that Rhaegar seeing Dany was a time-space continuum bubble, of the present looking at the past, or, for Rhaegar, the present glimpsing at the future. How I see it, however, is that when he says those fateful words, and looks up to meet his sister’s eyes, he becomes both the gods’ and the author’s channel to make Dany and the reader aware of the answer to the prophecy. He sceases to be just a vision of the past and becomes the gods’/R’hllor’s voice, informing Dany. He tells her about the PTWP prophecy, because she is TPTWP!

Thus, when he continues with this,

“There must be one more,” he said, though whether he was speaking to her or the woman in the bed she could not say. “The dragon has three heads.”

we can infer that he’s saying this to Dany, because the gods want her to know this (and the author wants us to know this).

Mind you, these are visions, not just excerpts from the past/present/future. The conversation as it’s shown might not have taken place exactly like this, if it ever did. With how abrupt the cut from Rhaegar saying this to him going and playing the harp, I think he’s never said those words himself. Again, I believe that, in that moment (given that “There must be one more” and “The dragon has three heads” do not tie at all with the PTWP prophecy), it’s the gods using this vision of him to tell Dany (and the reader) an important message.

I shall say it one more time, just to be perfectly clear: IT’S NOT RHAEGAR TALKING ABOUT THE THREE HEADS AND A THIRD CHILD, IT’S THE GODS!

“There must be one more”, because Rhaegar has three children, not just two. Dany is fated to meet Rhaegar’s third child (and very probably fall in love and marry said third child, but that’s another overly-beaten, dead horse), and we as readers have been getting clues about who this child is since book one.

In no passage is it stated or implied that Rhaegar sought to have another child. He doesn’t go on and say, “When the maester has cleared you, we shall try for a third.” or “Because you can’t get pregnant again, I shall look for another woman to bear my third child.” The theory that he wanted another one, presumably a girl, to name her Visenya, is just that, a fan theory.

“The dragon has three heads. There are two men in the world who I can trust, if I can flnd them. I will not be alone then. We will be three against the world, like Aegon and his sisters.” (ASOS, Dany VI)

It’s clear (or it should be) that “the dragon has three heads” it’s specifically for Dany to know that there are two people out there whom she can trust and with whom she shall stand “against the world, like Aegon and his sisters.”

It’s not about Rhaegar thinking that his children are “the three heads of the dragon”. It’s about Dany. You would think it’s obvious given that it’s her chapter, but whatever.