heirring: ([006])
Wysteria Poppell ([personal profile] heirring) wrote in [community profile] faderift2021-09-07 02:54 pm

[open]

WHO: Wysteria & YOU
WHAT: Anchor-related adventures and/or drama in fantasy September.
WHEN: Kingsway
WHERE: Various
NOTES: Some anchor and rift-related peril; open stuff is in the comments, but may use this as a catch-all. If an open prompt doesn't suit you, feel free to wildcard me or hit me up and I can write something bespoke. Prose or brackets is a-okay.


heorte: (68)

[personal profile] heorte 2021-10-06 01:23 am (UTC)(link)
No, it would not be an effective objection. Though perhaps Ellis anticipates some form of it, because though he reaches to reclaim the book and leave her more room on her tray, he doesn't yet open it. Instead, his attention remains on her entirely.

It would be reassuring, were she well enough to leave this infirmary before Ellis leaves Kirkwall.

"If they covered the birthmark, there wouldn't be much else to distinguish them," Ellis points out. "And she was grieving his death."

And it's the sort of book where anything might happen, so long as it is dramatic enough. Ellis refrains from submitting this as a valid argument.
heorte: (08)

[personal profile] heorte 2021-10-07 04:51 am (UTC)(link)
Well.

Ellis does not volunteer any contribution to fit into that abrupt pause. Instead, he considers the clink of spoon against china. If there is some minor flex of emotion in his face over it, then surely it is not worth commenting on.

Instead—

"It must come and go," Ellis suggests, dry over the theory. "For she was able to sight the fuse on the blackhaller's trap from twenty paces or so in the first book."

The first book, which Ellis had left on the counter for her without any expectation that they might become a particular topic of conversation.
heorte: (182)

[personal profile] heorte 2021-10-08 04:08 am (UTC)(link)
"Only so divorced from reality."

So deadpan that it's hard to tell to what extent Ellis is joking.

There is no further elaboration, only a minor huff of exertion as Ellis leans forward to reclaim the book. The lovingly rendered portrait on the cover of a strapping, red-haired man, tunic rakishly undone for the benefit of the heroine's palm to rest directly against bare skin, is only momentarily visible before Ellis opens the book wide to wear some of the new-bound stiffness from the spine.