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.