[Will we see Jokertown again?]
We'll check in on Jokertown eventually, but it doesn't play a big roll in the current triad.
On the other hand, Jokertown is the main setting for Daniel's comic, THE HARD CALL.
[Whether the Great and Powerful Turtle will appear again.]
Maybe somewhere down the line, but he's essentially retired. He's almost old enough to be collecting Social Security by now. And that hot young girlfriend of his tires him out.
[Will "The Committee" be significant?]
Definitely.
[A reader suggests only Tyrion and Jaime appear to have a sense of humor.]
What, you don't think Dolorous Edd is funny?
I agree that humor has to be part of the mix. Even black humor, of the sort that policemen and fire fighters use, in part to distance themselves from the horrors they have to face daily on the job.
I think there's more humor in the books that you're seeing, however. But then again, "funny" is a most subjective thing.
[What's going on with the popular character Croyd Crenson, and is it difficult using him since Roger Zelazny's passing.]
Croyd has a big role in the new Wild Cards comic, THE HARD CALL, just out from DBPro. The first issue just went on sale, so be sure to snatch up a copy.
Yes, you'll be seeing him in the books as well, but I won't say when or where. That would be telling.
We all miss Roger, both as a writer and a friend. He always enjoyed it when the rest of us made use of Croyd in our stories, so we mean on doing so, as our own little memorial to his genius.
[How autobiographical is Sandy Blair from The Armageddon Rag?]
There are autobiograhpical elements in many of my characters. After all, the only person you ever really truly know is yourself, so to make a character come alive, you need to delve inside.
That being said, I probably used more of the actual facts of my life in making Sandy Blair than any other character except Tom Tudbury of WILD CARDS. Personality wise, however, I suspect I have more of Tom in me than I do of Sandy.
[GRRM is asked whether he's actually writing up the results of roleplaying game sessions.]
Sorry, no. WILD CARDS was based on a role-playing game I ran back in the 80s, but A SONG OF ICE AND FIRE has no ties to any rpg.
[When will GRRM visit Germany?]
I last visited Germany in 2000 for a con in Leipzig. I also visited Berlin (great museums), checked out the Frankfurt Book Fair and the Essen Game Fair, went drinking with my fans in Dusseldorf and Cologne, and played the tourist along the Romantic Road.
I'm sure I'll be back one day, but offhand, I don't know when.
[Might GRRM be able to visit Germany this summer?]
No, afraid not. These days I book all my appearances three or more years in advance.
[Confirmation that Ted Nasmith is illustrating one of the limited editions of the A Song of Ice and Fire series from Subterranean Press]
Yes, Ted Nasmith is supposed to illustrate one of the books for SubPress. Tom Canty is doing A FEAST FOR CROWS and Marc Fishman will be illustrating A DANCE WITH DRAGONS, so Ted will likely be the artist on THE WINDS OF WINTER.
[Word on the proposed HBO series.]
In development. Nothing new I can announce.
[GRRM is asked when a preview of Busted Flush will be made available on his site.
Some time soon. At the moment we're still trying to get people to buy INSIDE STRAIGHT, since it's in the bookstores now, and BUSTED FLUSH won't be out until December.
[GRRM is asked if the character of Mushroom Daddy is an incarnation of Dr. Mark Meadows.]
No, he is not.
[GRRM is asked if Meadows will return to the series.]
Keep reading.
1) Have you watched any of the recently-released Beauty and the Beast DVDs? How does the show look on DVD, and how does it feel to look back on your work there?
I have the DVDs, but I haven't watched them yet, I'm afraid.
2) If a producer asked you to write the script for an episode of a currently-airing program on television, which would you want it to be? I suppose this may be the same as "What's your favorite program on the air right now", but if not, it'd be very interesting to know why.
Most of my favorite television programs were HBO series that have gone off the air in the last year or so -- ROME, DEADWOOD, THE SOPRANOS, etc. Of the shows still on the air, I suppose BATTLESTAR GALACTICA is my favorite, but that one is wrapping up too.
3) You've remarked that you're a "gardener" instead of an "architect" when it comes to writing novels. Do you feel TV series could work using the "gardening" approach for creative direction, or do the constraints of the format (budgets, production schedules, etc.) make the "architect" approach more typical? I'm thinking primarily in terms of the recent shifts away from more episodic television programs to series with running, season- or even multi-season-long story arcs, and the rise of complaints from fans when they discover less planning has gone into these arcs than they had supposed.
The nature of TV pretty much prohibits the "gardener" approach. Studios and networks want detailed outline at every step of the way, so they will have the opportunity to review everything, gives notes, request (demand) changes, and so forth. You can beat them off to some extent if you have the kind of clout that comes with a hit series, but they're always there lurking.
BUSTED FLUSH is finished and delivered, and has been scheduled for a December release.
Most of the spotlight will still remain on the characters introduced in INSIDE STRAIGHT, including Curveball, Drummer Boy, John Fortune, the Amazing Bubbles, and the rest of the AMERICAN HERO crew, but you'll also meet several brand new aces that we think you'll like... and yes, some of the original characters from the old series will be present as well. Cameo will be back in her own story, written by Kevin Andrew Murphy, and one of the original stalwarts first seen in volume one will return... though not, perhaps, as you last remember him.
Depends on when I finish it, and whether you live in the US or elsewhere. If I can deliver before the end of June, as I hope, you'll see the book this fall. If not, well...
Watch my website for updates.
The first, on friday night, was discussing POV's. It was intending to be a panel on managing multiple POV's but it became more of a discussion of character building and how the writer relates to his characters. Nothing we haven't really heard before. Still its a priviladge to hear a writer of George's calibre talk about aspects of his art at length. The panel was well moderated and there were a couple of other pros on it, though not names I knew that also had quite a bit interesting to contribute. Couple of highlights from GRRM's comments: 1. He strongly prefers limited 3rd person point of view as compared with first person or omnicient 3rd person. Probably obvious to any read of ASoIaF. Still, this is a artistic preference that he strongly feels and not just something that he finds works well in his current project. 2. He tends to write from a single POV a couple chapters at a time to stay with the same voice. Switch POV's can cost him a couple of days of writing to be able to get back into the voice of the person who's viewpoint he is writing from. He goes back and rereads the last couple of chapter's he's written from that POV to help him. 3. Writing the the kids is the hardest. Not new information. He clarrified why that is though. He finds he has to check every sentences to make sure its something a child would think or so and to check every word to make sure it is one a child would know. Because he doesn't have children nor has many children in his life he doesn't have a model to work from expect his own childhood which makes it far more a stretch.
The second panel, on Saturday morning, was on writing for TV compared with writing novels. While there were other panelists most of it became George and the moderator (Jim Frenkel, senior editor for Tor) sharing stories and complaining about the the world of TV from the writer's perspective. Its lucritive but apparently a real pain in the arse.
A couple of notes, though nothing big from the Q&A seccion following the reading: 1. He's hoping to have ADwD done by June. He seemed reasonably confident that this could be done. He said though, that if he can't get it done but sometime that month that it would be delayed quite a bit more. He has a busy summer coming up after that which will not allow him time to work. So if its done by June, we should see the book by christmas if not earlier. If not then its going to be a while. 2. He still really thinks he can get it done in 7 total books though there did seem to be a bit more doubt on that lingering behind his words. That was my impression though, not anything that George actually said. He is commited to the 7 book idea at the moment. 3. The HBO show is still in limbo. Which we already knew.
That was about it for noteworthy material. Any panel George is on though is enjoyable and worth attending.
[Note: The following report is excerpted from a LiveJournal post by author E. E. Knight, with his permission. It should be emphasized that this is a rough transcript, and features paraphrases throughout rather than being word-for-word.]
Okay, here's my write up of the Martin panel on characterization. Well, it was about a lot of stuff but mostly characters and points of view.
Please, keep in mind that this is a rough transcript. The description of what was said is as accurate as I could make them typing on my laptop but I had to paraphrase here and there, therefore I'm not using any quotation marks. I'm sure I made errors. So don't write George R.R. Martin and say that you don't understand what he said or you think he screwed the pooch with his Gandalf observation unless you were actually there, m'kay? All errors of style are mine.
The panelists were:
Monica Valentinelli (moderator) (MV) free-lance writer of games and fiction
Sean T. M. Stiennon - (SS) college student, some short fiction and an anthology
Richard Chwedyk - (RC) Nebula winner, short story writer
George R.R. Martin (GRRM)
What sorts of characters do you like to write?
GRRM: I like to write many different kinds of characters - part of the reason my books have multiple viewpoints - people perceive differently. Different POVs allow you to explore all the varieties of humanity - people you can love, loathe, or have mixed feelings about. The goal is to let you understand the characters even if you find them reprehensible.
Do you prefer some over the others?
GRRM: I like all of them when I’m writing them.
I don’t believe in omniscient viewpoints. It gets in the way of understanding the character. The reader must see the world as the character would experience it as they’re living events. The 3rd limited allows closer identification and deeper understanding of how the character sees the world. Once you get inside them the common humanity makes you sympathetic with them.
Did you hate any?
GRRM -The act of writing them makes you like or understand them.
RC (or possibly MV)- Characterization is kind of like method acting, do everything you can to get in the role of the character.
Any way to get into the mood to write?
GRRM - I wish I had something entertaining to describe, but it’s just me in front of the computer, no strange creative rituals.
Different character creation for gaming and fiction?
GRRM - Told a story about a superhero turtle, with many hindrances to improve his armor. Recreated him for Wildcards fiction to make it more interesting.
MV: Challenging in writing game fiction is that I had to imitate powers and game mechanics exactly. Book packagers were demanding that she adhere to game mechanics right down to time spent concentrating and so forth.
GRRM: You can’t just take your games and make fiction of them. Today the most common story sent in to sf/fantasy genre editors is someone who has written up their RPG - often starts with meeting in a tavern. Start a story in a tavern and it’s coming right back to you.
RC: I’ve read some of those manuscripts.
SS: Characters have to be beyond a list of traits, they need personality.
GRRM: Would like to write about leper king of Jerusalem - has a lot of empathy for his problems and it’s a fascinating exercise to try to get into his mind. Creation of a character who is not like yourself is very difficult. You have to be able to project yourself into these different kinds of people.
How do the tropes influence your writing?
GRRM: You have to be aware of them but you have to smash them with hammers and make up your own. Tolkien twisted an old cliché of elves (tiny faeries) into something else - met with resistance from his editors at first, arguing over what an elf or dwarf is. Now Tolkien is the cliché. Can’t just regurgitate them you have to do something with them.
RC: Games are open ended - with certain characters I know the ending. There’s a gravestone waiting - there’s a dramatic structure to a story. You’re focusing on a very crucial moment in a characters life and you know the outcome.
MV: Purpose of a game character is to make it playable. In fiction the point is to make it readable and interesting as possible. When I write I don’t know how they’ll play off everyone else.
GRRM: How you experience life is unique to you, and it should be unique to each character. You have to somehow get from inside your body and into theirs - we all see life through one set of eyes, none of us are telepaths, we all have internal monologues - at the same time we’re experiencing the world.
Use of POV has to be structured, has to be under control. Have a reason for switching POVs. The big problem is when you’re switching promiscuously is it’s not clear.
MV: A common pitfall of new authors is to try to do too many POVs.
RC: 3rd person omniscient is annoying to read. It’s tough.
Character creation process?
GRRM: Hopefully you know the general shape of your story. Writers generally come in two flavors: architechts and gardeners - gardeners plant a seed which is the character and in the earth which is the world you created and you water it with your blood.
Is it hard to write when a character dies?
GRRM: It can be tough. Hardest chapter I ever wrote was the death of a character - had to skip over it for a long time. Part of the process is emotional - something like grief, because you’re dealing with the grief of the characters who knew the person, also the commercial consequences, what will editor and readers think of this. But it’s good to kill someone off now and then. Tolkien made the wrong choice when he brought Gandalf back. Screw Gandalf. He had a great death and the characters should have had to go on without him.
RC: Death has a strong effect, writing a death’s been murder. Opening scenes leading up to death have been incredibly difficult to write.
GRRM: My books deal with death, but I do try and deal with mourning and grief. There’s a moral component to people who kill.
Horror stories in the 19th century were morality plays, showing how a flaw in a character brings about a tragic downfall. Innocent characters being killed by the horror is a more modern version - we have rules. "The Grudge" doesn’t obey any rules as to the guilt or innocence of who it kills.
RC: SF is a way of looking at the world that isn’t tied to a story or genre structure. There aren’t demands on characters short of space opera.
Favorite character?
GRRM : Tyrion in Ice and Fire. Abner Marsh in Fevre Dream.
Glad to hear you pronounce the names
GRRM: In my youth I had a strong NJ accent, only reader in family, knew a lot of words that I had never heard spoken aloud. When I went away to college I found I was pronouncing a lot of these words wrong. I came to not care much about pronunciation. Pronounce the names of my characters however you like.
There are dangers in being a gardener, the story can run away from you - Shakespeare had to kill Mercutio because he was taking over play.
RC: Has a character who thinks of herself as a background character in revolt against being a background character.
How important is religion and myth in your stories?
GRRM: Mythos is important and it can also be very difficult. An author’s beliefs color the character, audience’s beliefs color it. Easier for me to write a secular character or someone who mocks and insults the gods than it is to write a sincerely devout character. It’s a secular society, especially our sf/fantasy readers.
How do you keep dialogue distinct in different points of view - how do you bring personality through dialogue?
GRRM: What appears between quotation marks is what was said. But you don’t have to quote everything a person says. You can paraphrase, or use someone’s perception to illustrate their character. Can present dialogue as stream of consciousness.
RC: Make sure the voices are distinct and what they’re saying is important enough you don’t want to paraphrase it. Try and strengthen dialog with each draft.
[Note: The following refers to remarks from the previous Technicon report, that GRRM stated only a page was left to be completed in the third Dunk & Egg story.
I thought that he said he needed about two days to finish the story.