Neither Depth Nor Height Nor Principalities Shall Separate Us From the Love of Westeros

One of the things that sets Martin apart from other writers is his ability to give depth and diversity to his world. He gives exhaustive examples and illustrations of the land, traditions, politics, food, and culture. He regularly includes concepts about local religious practices and mythology into character dialogue, just as we would today when discussing Christianity, atheism, deism, and world leaders. He is not uncomfortable describing spicy dinners, intimate encounters, or vulgar discrimination, which adds another layer of depth into the books. Some examples are:

• Catelyn remembering her days at Riverun
• The tombs beneath Winterfell with the burial traditions
• The dedication of different character swearing and praying to different gods
• The course humor about the wildlings sleeping with goats
• The doubts Sam Tarley has about his own gods and converting with Jon Snow
• The Dothraki sexual practices
• The commonality of expecting and using ravens
• The magic and history in surrounding, “The Wall, Aegons Tower, and the Heart Trees.”
• The use of drugs, alcohol, vice, and poison to address problems

What literary devices will allow me to include this kind of detail in my own storyline. Should I compare each character to someone I know and add personal traits accordingly? Should I take modern political scenarios and modify them to apply to my kingdoms? These questions and more beg to be explored.

Great Links for Game of Thrones: A Song of Ice and Fire - a.k.a. ASoIaF

Martin's Facebook Page

ASoIaF Facebook Page

George R.R. Martin's Official Webpage

The Fine Line Between Mystery, Adventure/Thriller, and Intrigue

Currently I am trying to grasp how Martin is able to incorporate the element of mystery into his writing. He seems comfortable adding intrigue into each chapter. He either leaves a cliffhanger, or the discovery of a question that needs answered, or drops a bomb that leaves you reeling from the intensity of the situation. Here are just a few examples of how Martin raises the tension through foreshadowing and backstory:

• Who is John Snow’s mother?
• If Tyrion didn’t send the dagger to kill Bran, then who did?
• Is there something magical about Daenerys and the blood of the dragon?
• What are the Others?
• Is Benjen Stark still alive?
• What happened to Aryas direwolf?
• Where is Rickon?
• What kind of magic does Melisandre have, and can she be trusted?
• What did John Arryn discover and who killed him?
• Why did the dragons die off?
• What exactly happened to Daenerys and Drogo’s child?
• The death of Ned Stark
• What about the connection between the direwolves and their masters?
• Bran gets pushed from the window

These are all seem to elements of a mystery more than an adventure. So, I am posing the question to myself, how can I write mystery into my adventure?

Fantastic Interview with George R.R. Martin

This is a little bit lengthy, but well worth the view.

**BE ADVISED: THIS CONTAINS SPOILERS**

Initial Analysis for Game of Thrones: A Song of Ice and Fire: Book One

Paul Farmer

Cindy Wyatt

Creative Writing II

19 July 2013

Assignment One

Ongoing Analysis for A Game of Thrones: A Song of Ice and Fire: Book One

Regardless of how a person feels about dragons, magic, and monsters, most readers can relate to real life problems. Exploring how humans interact through their problems is why I believe that George R. R. Martin has been so successful with his book series, A Song of Ice and Fire. Although the collection clearly uses fantastic and unrealistic scenarios, the turmoil faced by the characters is realistic enough for individuals to relate to their own life problems. Martin’s use of literary tools primarily in the sixth chapter helps to build a world full of people, places, and things that cause the audience to identify with both the “good guys” and the “bad guys.”

            The first device is the use of third person limited Point-of-View (PoV). Although it would be difficult to isolate one specific protagonist in the first book, six of the eight characters’ viewpoints are part of the Stark household, leading the reader to have a sympathetic bias toward this family. Martin proceeds to share the depth of his world through the concerns, memories, and emotions of Catelyn Stark, the Lady of Castle Winterfell. One example is when the reader is encouraged to think about the vast diversity in climate and distance of the land (Westeros) when Catelyn’s thoughts compare Winterfell to her home: “The warmth reminded her of Riverrun, of days in the sun with Lysa and Edmure, but Ned could never abide the heat.” This PoV also tips us off that she misses Lysa and Edmure and insinuates they are not close by.

            The second technique is the use of specific kinds of words when describing the environment to create tension and mood for the character. Descriptions of the castle and surrounding environment are used to foreshadow, create tension and possibly allude to intimacy in sentences such as, “Catelyn’s bedchambers were the hottest [, and] scalding waters rushed through its walls and chambers like blood through a man’s body, driving the chill from the stone halls, filling the glass gardens with a moist warmth.” (pg 55) This is also used when relating her view of Ned, “the wind swirled around him as he stood facing the dark, naked and empty-handed.” (pg 55) These comparisons bring imagery into the mind of the reader without actually saying anything about life, sex, or doom, but these are the emotions created through this type of language.

            A third strategy used in this chapter is the power of dialogue and relaying the urgency of the speaker to create an element of suspense. This is most clearly seen toward the end of the chapter when Maester Luwin delivers the secret message.

Catelyn stiffened in his grasp. “A warning,” she said softly. “If we have the wits to hear.”

His eyes searched her face. “Go on.”

“Lysa says Jon Arryn was murdered.”

His fingers tightened on her arm. “By whom?”

“The Lannisters,” she told him. “The queen.”

Ned released his hold on her arm. There were deep red marks on her skin. “Gods,” he whispered. His voice was hoarse. “Your sister is sick with grief. She cannot know what she is saying.”

“She knows,” Catelyn said. “Lysa is impulsive, yes, but this message was carefully planned, cleverly hidden. She knew it meant death if her letter fell into the wrong hands. To risk so much, she must have had more than mere suspicion.”  Catelyn looked to her husband. “Now we truly have no choice. You must be Roberts’ Hand.” (pg. 59)

Not only does this conversation keep the reader’s attention, but also it furthers the plot by forcing the audience to relate to the urgency of the actions of the Stark family.

            George R. R. Martin clearly understands the importance of using the right tools for the job. There are other devices used in his writing style, but these are the primary ones visible in this chapter. Martin has a strong voice and successfully paints a beautiful picture with his colorful words. The artistry is not concentrated in just one area but is spread across the entire literary canvas. This allows the audience to take in the overall imagery by smoothly transitioning from one technique to the next.