Bronte-Marie Wesson

Fjord Crayon has its own vibe.

Luminara always sounded just kind of like this, like just a little bit higher and a little bit more proper.

Yeah.

That's my biggest thing is that I wanted to escape the trap of weird dialogue.

Yeah.

And like stilted dialogue.

Yeah, yeah, because I encourage any writer to read their actual dialogue out loud because you can put it on the paper and it will still sound weird.

And there's characters here who are stilted for particular purposes, like Rianne's runs a bit more formal naturally.

Completely.

And Jiven's a bit more flourishy.

But, like, you need to read your dialogue out loud because if you're not doing that, there's going to come a point where an audiobook person's going to have to read it out loud and that's going to – you don't want them to discover the dialogue is weird there.

I also think there's like a teen fiction is written in such a way that all the dialogue is meant to imbue all that it can to a teen audience.

So you are fundamentally taking like adult essences and we're writing them in a narrative voice to deliver to a younger audience.

And so cool, when you pull that back out and you drop it in like an adult adaptation, yeah, it's going to feel a bit strange in a

Bless Twilight.

I grew up on Twilight, so I'm allowed to talk as much as I want.

I had Alice's necklace and all the little journals.

I was really into it as a 13-year-old.

I mean, it was formative.

It was formative.