What do we say to the Lord of Death?'' Not today.
Crowns do queer things to the heads beneath them.
Over the years, more than one reviewer has described my fantasy series, 'A Song of Ice and Fire', as historical fiction about history that never happened, flavoured with a dash of sorcery and spiced with dragons. I take that as a compliment.
I have files, I have computer files and, you know, files on paper. But most of it is really in my head. So God help me if anything ever happens to my head!
I tend to write one character at a time. But I don't write the entirety of one character at a time.
If you're going to write about war, which my books are about, wars are nasty things. I think it's sort of a cheap, easy way out to write a war story in which no one ultimately dies.
There has to be a level of joy of what you're doing.
It's like these ideas, these characters, kind of bubble up inside me, and one day they're not there, and the next day they are there. They're alive, and they're whispering in my head and all that stuff, and I want to write about those things.
Whether you're a history buff or a fantasy fan, Druon's epic will keep you turning pages. This was the original game of thrones. If you like 'A Song of Ice and Fire', you will love 'The Accursed Kings'.
I think in television and film, it's not usually the child's point of view. It's the story of an adult. If there's a child in a drama or an action-adventure movie, they're someone who needs to be saved, someone who needs to be protected, or if they're killed, someone who needs to be avenged. Their character doesn't matter much.
I find religion and spirituality fascinating. I would like to believe this isn't the end and there's something more, but I can't convince the rational part of me that that makes any sense whatsoever.
I never liked Gandalf the White as much as Gandalf the Grey, and I never liked him coming back. I think it would have been an even stronger story if Tolkien had left him dead.
My characters who come back from death are worse for wear. In some ways, they're not even the same characters anymore. The body may be moving, but some aspect of the spirit is changed or transformed, and they've lost something.
You can have the power to destroy, but it doesn't give you the power to reform, or improve, or build.
If I was a soldier going to war, I'd be pretty scared the night before a battle. It's a scary thing. And I want my readers to feel that fear as they turn the page.
I've never been a fast writer.
Many writers will get a contract by selling chapters and outlines or something like that. I wrote the entire novel, and when it was all finished, I would give it to my agent and say, 'Well, here's a novel; sell it if you can.' And they would do that, and it was good because I never had anyone looking over my shoulder.
There was part of me that wanted to see the world and travel to distant places, but I could only do it in my imagination, so I read ferociously and imagined things.
One of the great things about books is you can afford to do anything.
I spent a whole summer working on what proved to be 'A Game of Thrones'.
The success that the Tolkien books had redefined modern fantasy.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
I'm one of those writers who say, 'I've enjoy having written.'
There are writers, and I know some of them, who are very disciplined. Who write, like, four pages a day, every day. And it doesn't matter if their dog got run over by a car that day, or they won the Irish sweepstakes. I'm not one of those writers.
When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.
Writing is hard. I mean, I sit there and work at it.
Boy, there are days where I get up and say 'Where the hell did my talent go? Look at this crap that I'm producing here. This is terrible. Look, I wrote this yesterday. I hate this, I hate this.'
Whenever I switch from one character to another, there's always a few days where I really struggle because I'm changing voices and I'm changing ways of looking at the world. I'm not just flicking a switch; it's harder process than that.
I've never been good with deadlines. My early novels, I wrote by myself. No one knew I was writing a novel; I didn't have a contract.
You want people to be eager for your book; the downside is when the people forget the series even exists.
I think that, in all of my time, I got just one fan letter, from an NFL fullback named Darian Barnes. NFL players might not have enough time for my books.
I do get invitations all of the time to play actual fantasy football, by the way, but I get the feeling that I'd like it too much. I have enough demands on my time. My fans would kill me.
If you go all the way back, I've always written science-fiction, I've always written fantasy, I've always written horror stories and monster stories, right from the beginning of my career. I've always moved back and forth between the genres. I don't really recognise that there's a significant difference between them in some senses.
I have many books that I want to write; I'd like to think that I'll be around for another 20 years or so and write another dozen novels, probably some sort of imaginative literature... Never again another seven-volume saga.
I know some writers can write on the road, but I'm not one of them.
When the writing is going really well, whole days and weeks go by, and I suddenly realise I have all these unpaid bills and, my God, I haven't unpacked, and the suitcase has been sitting there for three weeks.
Give me a good sharp knife and a good sharp cheese and I'm a happy man.
The best writing advice I had was [in] "Heinlein's Rules for Writers' by (American science fiction author) Robert A. Heinlein. His first rule is that you must write, and I was already doing that, but his second rule is, "You must finish what you write,' and that had a big impact on me.
He understood the way that you could sometimes fall right into them, as if each page was a hole into another world.
The greatest fools are ofttimes more clever than the men who laugh at them.