Monday, July 9, 2012

i am therefore ...

the writing thing is coming along but a tad slower than i would like it to.  not the writing's fault, personally i blame the 'writer'.  did a lot of research this weekend into erotic fiction  ... how to write great sex scenes, that kind of crap.   It's fucking hard to write an erotic scene, let me tell you (pun intended).

I also found myself digging into George R R Martin's style of writing - how he gets into the character's head and brings thoughts out, as well as investigating the tricks he uses to enforce visual metaphors - like the Hound's twtich at the side of his mouth  - Martin uses the word "twitch" A LOT!  and right throughout the books.   He deliberately repeats himself, which i always thought was a bad thing, or to be avoided in the grand scheme of things but it would appear not so.     I analysed quite a few pivotal scenes in the Game of Thrones books involving Sandor Clegane and his interactions with Sansa (well, duh, of course)  ... there are many clever descriptive pieces George uses to bring across the pathos of their relationship - the most poignant one, for me, is the following piece - which happens on the eve of the Battle at King'sLanding when Sansa escapes to her room as all appears to be lost.  The Hound is in the shadows beside her bed and surprises her (puts his hand over her mouth to stop her screaming, then releases her when he realises that she won't flee), she had cupped his cheek in her hand for just a brief moment:   
"The room was too dark for her to see him, but she could feel the stickiness of the blood, and a wetness that was not blood.  "Little bird," he said once more, his voice raw and harsh as steel on stone.  Then he rose from the bed.   Sansa heard cloth ripping, followed by the softer sound of retreating footsteps." 
In this short exquisite passage, the reader is drawn gently to several conclusions,  namely:
    1.  The Hound realises that Sansa would rather bear the horrors inflicted on her by Joffrey than seek protection from Sandor. 
    2.  The Hound realises that Sansa will not escape with him from King's Landing - even though he has sworn to protect her and she knows that she will be safe with him. 
   3.   The Hound is crying but Sansa doesn't grasp the immense significance of this or the scope of the power she has over him. 
   4.  The Hound tears the cloak as a final act, as if to shake Sansa off him and all he could do for her.
   5.  The Hound leaves the room quietly, so as not to disturb or distress her, knowing that it will be the last time he will ever see her.  


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