Much as I admire Tolkien, and I do admire Tolkien — he’s been a huge influence on me, and his Lord of the Rings is the mountain that leans over every other fantasy written since and shaped all of modern fantasy — there are things about it, the whole concept of the Dark Lord, and good guys battling bad guys, Good versus Evil, while brilliantly handled in Tolkien, in the hands of many Tolkien successors, it has become kind of a cartoon. We don’t need any more Dark Lords, we don’t need any more, ‘Here are the good guys, they’re in white, there are the bad guys, they’re in black. And also, they’re really ugly, the bad guys. It is certainly a genuine, legitimate topic as the core of fantasy, but I think the battle between Good and Evil is waged within the individual human hearts. We all have good in us and we all have evil in us, and we may do a wonderful good act on Tuesday and a horrible, selfish, bad act on Wednesday, and to me, that’s the great human drama of fiction. I believe in gray characters, as I’ve said before. We all have good and evil in us and there are very few pure paragons and there are very few orcs. A villain is a hero of the other side, as someone said once, and I think there’s a great deal of truth to that, and that’s the interesting thing. In the case of war, that kind of situation, so I think some of that is definitely what I’m aiming at.

Oh, I can see that,” Catelyn said. “Lord Tully is fond of song, I hear. No doubt you’ve been to Riverrun.”

“A hundred times,” Marillion the singer said airily. “They keep a chamber for me, and the young lord is like a brother.”

Catelyn smiled, wondering what Edmure would think of that. Another singer had once bedded a girl her brother fancied; he had hated the breed ever since. “And Winterfell?” she asked him. “Have you traveled north?”

“Why would I?” Marillion asked. “It’s all blizzards and bearskins up there, and the Starks know no music but the howling of wolves.” Distantly, she was aware of the door banging open at the far end of the room.

You don't need a longsword to deal with jellied calves' brains.
- Catelyn Stark

"I know that she spent her childhood in exile, impoverished, living on dreams and schemes, running from one city to the next, always fearful, never safe, friendless but for a brother who was by all accounts half-mad... a brother who sold her maidenhood to the Dothraki for the promise of an army. I know that somewhere upon the grass, her dragons hatched, and so did she. I know she is proud. How not? What else was left her but pride? I know she is strong. How not? The Dothraki despise weakness. If Daenerys had been weak, she would have perished with Viserys. I know she is fierce. Astapor, Yunkai and Meereen are proof enough of that. She has survived assassins and conspiracies and fell sorceries, grieved for a brother and a husband and a son, trod the cities of the slavers to dust beneath her dainty sandaled feet." - Tyrion Lannister to Aegon Targaryen, about Daenerys

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There are many different kinds of writers, I like to use the analogy of architects and gardeners. There are some writers who are architects, and they plan everything, they blueprint everything, and they know before the drive the first nail into the first board what the house is going to look like and where all the closets are going to be, where the plumbing is going to run, and everything is figured out on the blueprints before they actually begin any work whatsoever. And then there are gardeners who dig a little hole and drop a seed in and water it with their blood and see what comes up, and sort of shape it. They sort of know what seed they've planted — whether it's an oak or an elm, or a horror story or a science fiction story, but they don't how big it's going to be, or what shape it's going to take. I am much more a gardener than an architect.

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War seems like a fine adventure, the greatest most of them will ever know. Then they get a taste of battle.

For some, that one taste is enough to break them. Others go on for years, until they lose count of all the battles they have fought in, but even a man who has survived a hundred fights can break in his hundred-and-first. Brothers watch their brothers die, fathers lose their sons, friends see their friends trying to hold their entrails in after they’ve been gutted by an axe.

They see the lord who led them there cut down, and some other lord shouts that they are his now, They take the wound, and when that’s still half-healed they take another. There is never enough to eat, their shoes fall to pieces from marching, their clothes are torn and rotting, and half of them are shitting in their breeches from drinking bad water.

If they want new boots or a warmer cloak or maybe a rusted iron half helm, they need to take them from a corpse, and before long they are stealing from the living too, from the small folk whose land they’re fighting in, men very like the men they used to be. They slaughter their sheep and steal their chickens, and from there it’s just a short step to carrying off their daughters too. And one day they look around and realize all their friends and kin are gone, that they are fighting beside strangers beneath a banner that they hardly recognize. They don’t know where they are or how to get back home and the lord they’re fighting for does not know their names, yet here he comes, shouting for them to form up, to make a line with their spears and scythes and sharpened hoes, to stand their ground. And the knights come down on them, faceless men clad in all steel, and the iron thunder of their charge seems to fill the world.

And the man breaks.