you mean “curling randomly up into a ball and sobbing uncontrollably because everything goes to shit this season and it only gets worse and OH GOD NO IF I SURVIVE THIS THAT MEANS SEASON THREE AND I AM NEVER GOING TO BE READY FOR THE RED WEDDING *uncontrollable ugly sobbing*”
You’re going to discover that conversations are best at 4am. The heavier the eyelids, the sincerer the words. Those are the talks you’ll remember. It’s ok not to know the answer and silence is not awkward.
“You have had many sadnesses, large ones, which passed. And you say that even this passing was difficult and upsetting for you. But please, ask yourself whether these large sadnesses haven’t rather gone right through you. Perhaps many things inside you have been transformed; perhaps somewhere, someplace deep inside your being, you have undergone important changes while you were sad.”—
“This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety. Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And sometimes, when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals—sounds that say listen to this, it is important.”—
“So avoid using the word ‘very’ because it’s lazy. A man is not very tired, he is exhausted. Don’t use very sad, use morose. Language was invented for one reason, boys - to woo women - and, in that endeavour, laziness will not do. It also won’t do in your essays.”—John Keating, Dead Poet’s Society (via e-pic)