Джордж Мартин: интервью, труды и дни

HugorHill

Оруженосец
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YaVeronika

Знаменосец
...встретила Мартина на автобусной остановке. Если это и впрямь он, то какой-то печальный. :(
Так у него же авто был, такая классная пурпурная машинка. Чего на остановке-то сидеть, грустить. :confused:
 

compart

Удалившийся
Мартин живет в Санта-Фе, южном городе, который по сути среди полупустыни находится
в том районе, где живет Мартин, никаких остановок нет :)
я как то выкладывал скриншоты и ссылки на гугл обзоры его дома и района
 
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compart

Удалившийся
вот его дом, ИМХО очень унылое место
http://virtualglobetrotting.com/map/george-r-r-martins-house/view/bing/

кинотеатр который он купил
Santa Fe
418 Montezuma Ave.
http://goo.gl/maps/VWq2f

его точный почтовый адрес у меня где то есть, но сейчас не могу его найти
а без точного адреса, гуглмап дом не находит

ЗЫ
кстати, если кому интересно, то где то у меня есть все его прежние адреса
дом для неимущих, в котором он жил со своими родителями, школа и т.д.
зная точный адрес, в гуглмапе, все это можно посмотреть :)
 
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Syringa

Казненный браконьер
Почти два года, как я осознала, что прочла 5 томов ПЛИО, а 6й будет нескоро. И сейчас он всё ещё нескоро. а уж 7й... :(
Короче, я бы не задумываясь согласилась, чтобы сериала никогда не было, но книги бы Мартин писал побыстрее :doh:
 

vlTepes

Скиталец
В своем ЖЖ Мартин пишет, что не поедет в этом году ни на Comicon, ни на World Fantasy Convention. Разве только если допишет Ветры Зимы раньше.
Should I complete and deliver WINDS OF WINTER before these cons roll round, I reserve the right to change my mind).
 

JennyFear

Наемник
До выхода Ветров мы сможем увидеть новые спойлерные главы (в приложении "World of Ice and fire" для смартфонов)! Так ответил Мартин на комментарий пользователя в своей ЖЖшке!
tumblr_nlbs7csctN1qge65co1_1280.jpg
 
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nik1ta20

Наемник
До выхода Ветров мы сможем увидеть дополнительный спойлерные главы! Так ответил Мартин на комментарий пользователя в своей ЖЖшке!
Посмотреть вложение 23109
Спасибо за этот пост! Вообще всегда,когда появляется новая информация про "Ветра",то настроение само собой поднимается)
Хотя мне почему-то кажется,что новая спойлерная глава будет Эйрона Грейджоя
 

Leroks

Мастер игры
Rob is married, but he has a different wife, and she’s not pregnant, and he doesn’t bring her to the wedding.
Надеюсь теперь даже те немногие оставшиеся перестанут цепляться за теорию о ребенке Робба. :wth: :^)
Не дадите линк, откуда конкретно цитата?
Нужно для каталога теорий.
 

OliviaDunham

Знаменосец
Джордж Мартин работает над 3 новыми сериалами для HBO и Cinemax
Life is impossibly busy right now. I am wrestling with the Son of Kong (that is, working on THE WINDS OF WINTER), trying to wrap up a final round of edits and revisions on the twenty-third Wild Cards book (HIGH STAKES), developing three new series concepts for HBO and Cinemax, hiring writers and directors for three short low-budget films I am hoping to produce based on some classic SF short stories (more on that in the months to come), making my way through the Hugo Packet to prepare to vote, looking forward to opening JURASSIC WORLD at the Cocteay and to hosting a ten-author special event for the release of Steve Stirling's new "Emberverse" anthology, THE CHANGE. In a week's time, we'll be flying off to Europe for long-planned appearances in Germany (Hamburg) and Sweden (Stockholm), en route to Archipelacon on the island of Aland, where I am to be the Guest of Honor...
Жизнь невообразимо насыщенна сейчас. - Я борюсь с Сыном Конга (то есть, работает над Ветрами Зимы), пытаюсь завершить финальный круг редактирования и доработок над двадцать третьими Дикими Картами (Высокие Ставки), разработка трех новых концепций сериалов для HBO и Cinemax, нанимая сценаристов и режиссеров для трех коротких малобюджетных фильмов я в надежде произвести на основе некоторых классических научно-фантастических рассказов (подробнее об этом в ближайшие месяцы)…
Извиняюсь за несильно качественный перевод :Please:
Источник и продолжение статьи Мартина: http://grrm.livejournal.com/429752.html
 

Sithoid

Наемник
Сделал транскрипт со шведской встречи, часть 1 (до 00:43:40). У Гарсии плохой микрофон и кошмарная дикция, зато у Мартина понятно почти всё.

Сначала они решают сами задать "frequently asked questions" и тут же на них ответить - "to get them out of the way". Говорит Гарсия, Мартин кивает.

E.G.: "Who's your favourite character - Tyrion, Who was the hardest character to write - Bran, because he's a kid. No, George doesn't write anywhere other than his office - he's tried, it doesn't work; and the next book will be out shortly after it's finished."

GRRM: But my least favourite question is who's gonna finish the books when I die; I'm not planning on dying. I'm hoping to live forever.

Далее вопросы аудитории:

Q: (вопрос про Writing process of the Winds of Winter). As we know, The Feast for Crows & A Dance with Dragons were separated geographically, so the question is how challenging it was to write WoW with all those added characters, if you feel like you had to shorten some storylines.

GRRM: Well, I've not finished it yet, so-- who knows what I'll discover by the time at the end, but I'm not planning on shortening any storylines. I'm also not planning on dividing it, we're not gonna have another set of two parallel books. So the books that depart for those two volumes are reuniting. There will be-- how do I phrase this-- Between the two books when you put them together there's an excess of viewpoint characters, so some of them *laughs* may not survive the *laughs* the action to come, but, you know, we'll see about that.

Q: My question is a bit strange. I'm from a city not far from here, you may've heard of it, it's called Westeros...
GRRM: Yes, I was asked it this morning. It's purely coincidence. No, I'm afraid I've never heard of your Swedish Westeros.
Q: Right, exactly... So just, like, a related one: when you envision your city specifically, like King's Landing or White Harbor, those kinds of places, do you think of any real-life cities that you compare them to, like Stockholm maybe, I don't know? What do you think those cities look like in your mind?
GRRM: Why, I've never actually been to Stockholm before this, so I couldn't really evoke that. You know, to the [logic scent?] these are based on-- obviously not places I've been since I'm not a time traveller, but they're based on what I've read about actual medieval cities - medieval Paris, medieval London primarily are the ones that are -- most information is about -- is available in English. I wish I coud read more medieval history of other (?) countries, but - sad to say - those books are seldom translated into English and I have no other languages. Not even Dothraki and High Valyrian.

Q: [question from Stockholm] They want to know if you have any tips on how to write better dialogue, and if you have some authors that are favourites-- with just dialogues.
GRRM: Yeah, the dialogue is something that Hollywood really helps me with. You know, when you write a script it has a different format, it's easily researched if any of you are interested, just buy any good reference book on screenwriting and you'll see the format. The dialogue is presented in blocks with much narrower margins. And an experienced screenwriter, as I discovered when I went to Hollywood in 85 an 86 to work on Twilight Zone, they don't even read the dialogue, they look through. And if they see large blocks of dialogue, someone giving a long speech, they know it's not gonna work. This is not Shakespeare where we want characters delivering soliloquies for two pages. They wanna see short dialogue, a line or two, back and forth, back and forth, back and forth. And that's the kind of dialogue that tends to work. The other key to dialogue is reading it loud. So I'd like... I'm about to give a reading, I'll be doing that here. When you read your work aloud, you hear the speeches that work, the speeches that don't work, you can get a good feeling for that. So something sometimes [will expand? for] a page when you're actually trying to deliver a line and it stumbles.

GRRM: Let me ask you a frequently asked question here for Elio and Linda because I get this one all the time, but you can answer it. It's how did we come to write the book together? And how did I meet you guys and how did you get involved in the world of Westeros?

[вот дальше очень сбивчивый монолог. Общий смысл понятен, но качество явно вышло под пересказ, а не перевод, увы]

EG: [Long time ago?] because it was, wow, back in '99 I think. [two fans?] came out of the blue and asked "hey we want to to make a game based on A Song of Ice and Fire, can we have premission?", and George [happened ???]. So at this time after some discussions of publishers and lawyers and agents he said "Yeah okay". And we started a website, kind of to be for players, so we had stuff like heraldry. And George said: "Hey that's really cool. Here's my notes that got on hundreds of families that you never -- you know -- haven't seen yet. And then [to other forum???] visiting the US after I'm gone away for two years, and visiting my family, doing a cross-country trip. And I realized - hey, we're passing by Santa-Fe. So I called Linda I think and then she contacted you and arranged for us to have dinner. And it's at that dinner at the 'Borin'? [???]... (GRRM)Was it 'Borin'? (EG) Yeah, that's it... You mentioned... like there's you and me and Paris, and he was 'Hey, you know, these publishers, they're talking to me about doing this kind of worldbook thing, but I'm busy, but [this grows?]. And may you help doing it, and would you and Linda want to write it. And that was... I [officially???] said yes. I may have need some strange vague regards like maybe having to check with Linda but I didn't ask *laughs*.
Two years later we signed the contract at Anaheim and here we are, it was - I don't know, to me everything is a strange series of coincidences that's led to this moment. [???]

L.G.: No I think that's... The big part of it, really. It was all very strange experience and that... When we started it all, as Elio told you, we started with the idea of making this game, and we started the website with the idea of creating resources for our players, so the concordance part of Westeros... [???] that we collected all the data from the books, just sort of pure setting information. That was entirely indended as a resource for our players based on something that had been done before - a similar Wheel of Time game by a fan. And, you know, everything else ended up growing from there and the game part became a very small part-- you know, we're still doing it, it's still out there. But somehow we've gotten very busy doing other things like, you know, writing a book with George, so, you know, we haven't had as much time as we wanted for it. But everything really grew out of that first contact, so-- very random, and somewhere along the way, I guess, you know, George realized that Elio has a very good memory for obscure details and that - you know, if you want to know if you've said something about acharacter in the past or something you can ask him, he'll probably come up with where in the books it is as well. Things like, you know, just plain search might not be able to come up with, he can come up with. So he turned out to be pretty useful in some ways.

GRRM: Yes, I have said that Elio knows Westeros better than I do, and it's true, yes. I don't know - a photographic memory or something, eidetic memory for trivia. Although to be fair he did lose the big trivia contest at the Glasgow GoCon. *laughs* So maybe I should've written a book with Jod Dosh (?), I don't know. [видимо, победитель викторины]

E.G.: Yeah, let me ask you something, George. The Internet is something that kind of developed with your book, it became very popular the same time as your books started taking off. Has... When you've been writing all the [???]... Has [?] being online, has having these communities and having the Internet in any way changed your writing process or affected the writing process in any way?

GRRM: No, it hasn't affected my writing process. It has affected my life! And my sanity sometimes. Um, you know. For one thing, the interaction with the fans - I mean with my readers - in the old days before the Internet I would get, you know, half dozen fan letters a year. They would be delivered by the post office, you know, through my publisher. They would write to my publisher and then my publisher would forward a letter. I would know that I had a fan and... a [safety coder??] or something like that... who liked the book, and it was always a thrill to get those. Of course with the Internet when [you get a rant of?] email, that increases, the books became more successful and that increased even more, and these websites begin to proliferate... there's even more. But there's a dark side of it too. I mean I've recently been embrailed in some quarrels in the Internet and I've put forward the view that the Internet is toxic. As many as good people are on the Internet. You know, in the old days I'm sure there were people out there who hated my books. But they didn't write me, you know? The letters that I got, those half dozen letters were all "oh you're wonderful, I've read your book and it's the greatest book I've ever read, and I have never written an author before but now I'm writing you...", you know. I still get those letters, I get hundreds of those letters and emails, but now, thanks to the wonders of the Internet, I also get the letters saying that I suck! And my books were trash, and, you know... or they used to love my books but now they don't love my books. Why they feel compelled to write and tell me this I have no idea. I mean there's many writers out there whose books I don't like. But I don't write these writers letters saying 'I don't like your books'. But something about the Internet has empowered all the assholes of the world to take to the computer and feel that the people that they dislike would like to know their opinion! And this is not true *laughs*. So I don't know, the Internet is a strange and sometimes scary phenomenon.

Q: Is there any fan reactions that you've been surprised by, like is there any character that's more popular than you thought or have people been shocked by something you didn't think they would be shocked at?

GRRM: I'm reasonably certain what people will be shocked by. I knew that the Red Wedding would provoke a big reaction and it did. I was pretty confident that throwing Bran out of the window and killing Ned in the first book would get reactions and it did, they did, all of it worked exactly the way it did. To the extent that things that surprised me - they tend to be smaller things. I guess I... Maybe I should not've... I don't know, how do I phrase this without getting myself in terrible trouble? Um... I guess I don't understand women. But I was definitely, you know, way back then surprised by the number of women who reacted positively to characters like Theon and Hound as dashing romantic figures. The San/San kind of thing took me by surprise, I must admit - and even more so, that the women who-- and there are some who really like Theon. So that surprised me. Sometimes I get reactions to extremely minor characters which surprise me. You know, I've had letters from people who tell me that Lord Blackwood is their favourite character. He's had like three lines, you know?! I think that's what is known in the trade as the Boba Fett syndrome. You know, you-- a character who hardly appears but has something vaguely cool about him. People make him cool, and of course Lord Blackwood has a cloak made of raven feathers. That's his single distinguishing characteristic! But some people think that's cool enough that he becomes their favourite character. So little things like that do tend to surprise me much more than the big things. [to EG] Have you-- do you see surprising reactions from--? You're a lot more in it with Westeros. The things that are being discussed on the boards and all that stuff?

[тут Гарсии наконец начали подсовывать нормальный микрофон]
EG: Mainly it's the people who come up with the increasingly hairbrain theories about things. And people who are very desperate to pass the time, the people who yell 'get hype!' about various topics. I won't share the litany of strange theories however, they're for the books to resolve, though. But there's some really, really strange what's out there.

Q: What's your favourite cheese? [real-world cheese]
GRRM: I like all cheese, actually, I'm a big cheese guy. But my favourite cheese is Cheddar. And the sharper, the better. I've never seen the point of mild cheddar, you know. You want sharp and extra-sharp and very extremely extra-sharp, and sharper than that - and then I like it, yeah.
Q: I think with whisky as well?
GRRM: Right.

Q: Could you explain the rules of cyvasse?
[интересно, что Мартин произносит "сывасс"]

GRRM: No I can't. *laughs* I've actually turned down a number of offers from game companies who wanted to market cyvasse, wanted to come up with rules for a game. But, you know, some things are better suggested than shown. Like it's long been a rule of writing: if one of your characters is a great poet, do not quote any of his poetry unless you yourself are a great poet. *laughs* Which most writers are not. Otherwise you'll embarass yourself. Cyvasse in the books is a wargame played over board, it has elements of chess and elements of Stratego and elements of various other wargames. But it's a game of great complexity, it's a game of great profundity - it's a game like chess, which is a game that's, you know, half a thousand years old, and that people play and analyse and go over... Is it likely that any game company I license the rights to develop it would come up with a game to equal chess? You know, by working on it for a year? No! They would come up with a game that might be pleasant to play and people would play it for a few years, and then it'll be time for another game. So it's better to suggest the profundity and the complexity and the symbolism of cyvasse rather than to come up with an actual set of rules for it.

Q: Do you have any author that you would like to work with? Do you have like a dream co-author?

GRRM: You know, I don't really work with co-authors very much. I edit authors - you know, Gardner Dozois and I do books, and I've had great pleasure of publishing stories by people like Joe Abercrombie and Patrick Rothfuss, fantasy writers. But also by people from other fields - you know, we're doing a lot of these cross-genre anthologies. So we had a story from Rogues by Gillian Flynn - just won the world-- the Acker award. And she's a terrific writer, I was thrilled to work with her. And there are other mystery writers - I published stuff by Lawrence Block, he's amazing, I've published stuff by Diana Gabaldon. But there are a lot of other great writers out there that I'd love to do more anthologies and work with both inside the field and outside the field. But you know, when I was young I collaborated with a lot of writers. But at a certain point-- that's a good thing a young writer could do, you can learn from each other. But at a certain point you find your own voice, and then you don't want to work with anybody else anymore. You just wanna do your own thing.
Q: Well, except for Linda and Elio for the World of Ice and Fire of course.
GRRM: Yeah, that was a sort of a different situation.

Q: When you're writing the different conflicts in Westeros, do you ever, like, personally pick any sides or feel that one side fights for more just cause, subjectively, than the other?

GRRM: Yes, certainly. I mean, I've often said that I believe in gray characters, I don't believe in black and white characters, I don't wanna write the band of heroes on one side and the orcs on the other side. But that's not to say that all characters are equally [work?] gray. You know, some are very dark gray, and some are mostly white, but they still have occasional flaws in them. You know, I've always been fascinated by human beings, all their complexity, and even human beings who do appalling things, you know, the question is why. Why do they do appalling things? And it's interesting to get inside their head and see why... You know, some of my viewpoint characters have done some incredibly reprehensible things - Theon, for example, or Victarion Greyjoy. Why? Why have they done those things? Were they just, like, born a monster, weren't they born a, you know, a cute little kid running around and saying 'why is the sky blue, mommy?' and, you know, wanting to be loved and all that? We all start out that way, right? But things happen to us along the way that lead us to junctures in our life where we make decisions. And those decisions and the consequences of them color everything that comes after, colors the perception of the people. I mean I was-- I got a tour through here beforehand, and we were being shown some of the armor and the artifacts of the various Swedish kings - Gustavus Adolphus and Charles XII and some of these others, and you look at them and see: what's the verdict of history on these men? Are these heroes, are they villains, are they great people or people that we should despise? I mean, they're fascinating characters because of their-- they're very-- complexity.

EG: Actually, speaking about-- I mean when you mention great people or not - I mean I think there was once-- I heard they had sort of a split in how you viewed history. Either romanticism, kind of a "king, the Great Man" theory of history, that history was made by great men, and more modern history is much more about the struggle of societies, the sociology. To me when I read 'A Song of Ice and Fire' it feels very much of a-- sort of romantic take in that sense that the characters are great men doing great things, and yet when you come to 'The Feast for Crows', to me that's a novel where you say "let's step back and let's see what these great men have wronged". Is that something that you did deliberately?
GRRM: Yeah. *laughs*
EG: How... For long authors it would be typical to go to the next battle and not go to the aftermath. And what did you feel was the motivation behind that for you, what made you so interested in that?
GRRM: You know, Shakespeare has-- In Henry V there's a sequence right before the battle of Agincourt where Prince Hal, Henry the Fifth, is in disguise and he's wandering among his men. And, you know, some of the common men are saying: "I hope that the King's cause is just, because if it's not, you know, the awful price we're gonna pay, and severed limbs, and slaughtered, and lakes of blood and all that... And Hal reacts right negatively to this and gives a long speech about "It's not for you, peasants, to judge whether the King's cause is just", it's, you know, God will weigh on this and all that... Shakespeare, of course, writing during the Tudor dynasty to appease the Tudor kings... but it's a profound question that's often asked. And the truth is we look at war through most of human history, and you can ask - were any of them just, you know? Were the wars that... I mean, Charles XII is a fascinating character who I've read about and studied - you know, came to a crown 14 years of age, died at 36, spent his entire reign fighting, hardly was ever home - one war, another... were any of these wars necessary? Were any of these wars worth anything? Did it improve anything for anybody - except for him, you know, his legend and whatever, you know? You look at some of these wars in medieval times and it's like "What difference did it make to the common men which lord had dominion over them?" It's not like they were fighting for political systems or for anything lke that. It was all kind of the same, you know? And you really wonder about it. I don't think it's true of all wars, but it's certainly true of many of them if you study history, and that's something I want my readers to ask themselves about. You know, Tolkien and most fantasists make it very clear that the war is worthwhile because, after all, it's like, you know, evil slithering orcs are coming, and if they win, they're gonna, you know, kill everybody and eat manflesh, and great darkness will settle over the Earth. Well, okay, yeah, but let's not make it that easy. *chuckles*

Q: Is there any like special culture, do you research cultures when you wrote the books, for inspiration?
GRRM: To some extent, sure.
Q: Do you have any examples?
GRRM: Well, you know, I've drawn heavily on the Hundred Years War and the Wars of the Roses, and to a large extent the Crusades and some of the other wars, so I've researched those to-- I mean, I don't do primary research, let me make that clear - I don't make any claims to be a professional historian, you know. I read popular histories. It's the stories that fascinate me. The betrayals and the battles and all the shifting alliances and the politics, all of that stuff, the great Shakesperian stuff. I don't wanna-- I've occasionally stumbled on a book all researching on, you know, the growth of crop rotation in medieval Europe, and this is... I find it not of great use and if-- If I had a chapter about crop rotation I don't think you people would enjoy it much either. That's the stuff the professional historians are writing about.

Q: One of your readers wants to see more of the Lands of the South. Do you have named lands like... Southeros?
GRRM: I dont know... Sothorios?
Q: Are we gonna hear more about them?
GRRM: Probably not. *laughs* I mean, maybe an occasional cryptic sentence here and there that Elio and Linda will put on their Westeros Maesters' page and their bullet lists that they have in there.
LG: Everything cryptic goes there.
GRRM: Those bullet lists were the beginning, of course, for the World of Ice and Fire, you know. I mean when I'm about to write something about Norvos I go to their page and say "What have I said about Norvos? Oh, I've said that everybody there has a pet grasshopper and they talk backwards. Okay... *laughs* Now I have to add more stuff to that". It was tough to-- you know, like "Okay, now I write the histories of Nine Free Cities!". And there were some cities where there were quite a few things that I could use, and there were the cities where there was basically nothing about them. "Yes, they keep pet grasshoppers, they talk backwards". That was all that was! So I had to make up stuff.
EG: Yeah, that was one of the parts that was... Like, as we started writing "The World of Ice and Fire", it became to us, like, increasingly clear. We thought "we'll just get a few notes from you and we fill out the rest based on just some notes", and we realized, like, there was such a disparity between certain regions that you had, like, a lot about - Braavos, for example, when you had almost nothing about Lorath. And so then we [were like?] "How are we gonna-- what kind of notes are we gonna get from George to kinda resolve that?" And what we got instead was thousands and thousands of words about these magnificent wonderful things. And we would wake up in the mornings, George, when you sent it to us, I guess it was evening for you, it would be early morning for us, we would be getting up at like 5 AM just to-- "what's George sent us now?" It's very exciting.

LG: Actually there I want to fall up with a question because it's kind of intrigued us. What-- I mean, obviously there were a lot of things that sort of took off in your mind. Was there anything in particular that you found yourself surprisingly fascinated with as you were writing and realized that you had a lot more to say than you thought?

GRRM: You know, when my storytelling, you know, gene kicks in, then I do get carried away here, and it's a lot of fun. You know, the-- I don't know if it's been published here in Sweden, but a couple of years before 'The World of Ice and Fire' there was the mapbook, 'The Lands of Ice and Fire'. Have any of you seen that, has that been published here? It's not actually a book, it's a, you know, a book-like object, it's a box, and inside there are these poster-sized maps. You know, this is how the novels get delayed, with stuff like this, let me tell you. So my publisher comes to me and they say: "We wanna do a book just of the maps. We wanna make posters of the maps. And, you know, we'll pay you a lot of money and you won't have to do any work because we'll just take the maps and we'll blow them up to poster size. And issue them, we'll do them in color, and do it real nice, and we'll get professional mapmakers". I say "Oh that sounds good, you know. Yes. [Give me?] a lot of money". And... "You do that, and I'll just keep writing my books". *chuckles* And then they say, you know... I've signed a contract and I get a lot of money in months pass... And then I get a call, they say "You know... We took the maps that were in the books, and we blew them up to poster size... There's an awful lot of blank space on them". *laughs* "And they don't look very good. Could you, like, fill in some more rivers and mountains and towns and stuff like that?"

So, okay, so I'm making up mountains, I'm making up towns - it's harder than you think, you know. You gotta kind of make sense of the georgaphy, and rivers have to flow in the right direction, and you gotta name everything - which is pretty damn tough, you know. Cause all that are good names have been used in fantasy here, unless you make up names that are just, like, nonsense syllables. Which you can't do, of course. A lot of fantasy writers do, they have just horrible names that obviosly've been generated on the Internet by a Fantasy Name Generator. *laughs* I've tried to used those, and they're great if you want everybody named Grizzduzzle (?). *laughs* But otherwise you find yourself "Okay, mountains here, they will be - let's see - the Misty Mountains. No-no, wait a minute, Tolkien used the Misty Mountains. They will be the Rocky Mountains! Oh no, there really are Rocky Mountains. The Pointy Mountains? Um, that's stupid, no." And you wind up going until you finally come up with a good name for the mountains.

And filling in North and South - although my maps of those were pretty detailed already, but I did have to make them even more detailed cause now they're blown up to poster size... But then I have to fill in Essos. And Essos, there was, you know, there was a lot less! And, you know, my map of the Dothraki Sea - there was 8.5' and 11' piece of paper on which I had Vaes Dothrak, and the rest of it said "Dothraki Sea"! *laughs* So I had like a blank-- I say "Aha, now I have to invent a lot of stuff for that here". So I'm filling that in. And on the edge of the map, on the edge of all the maps that I had drawn up to that point was the city of Qarth. Where Dany reaches and has adventures, and then she turns around - she's been going in one direction, now she turns around, goes back the other way, making it way back toward Westeros. But there's a scene in one of the books where Xaro Xhoan Daxos comes to Dany, and he presents her with a huge tapesrty of the world. In which the city Qarth is at the center. This of course implies that there's as much to the east of Qarth as there is to the west of Qarth! *laughs*

So now my publisher's saying "What about what's to the east of Qarth???" *laughs* "You know, people have read about this tapestry and they wanna see the rest of the world here!". And so now I'm drawing what's on the other side of Qarth. Which led to an interesting discrepancy because I had some very early primitive maps about what's on the other side of Qarth, and I gave those maps to HBO at a certain point. And HBO started issuing maps which used my-- which used those maps. But when I was doing the mapbook, I looked at those maps and said "Ah, this doesn't work, I don't like this, I don't like the way it's [around?]. And I completely threw those out and I redesigned everything east of Qarth into something that I liked better. So the HBO, the Game of Thrones, world is significantly different from the Ice and Fire world, and it's even if it's basic geography! - because of that change.

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But then, you know, I had blank pages east of Qarth, so I filled it in - with rivers, and mountains, and valleys, and dead cities, and live cities, and-- you know, making as much east of Qarth as was west of Qarth, so we could have maps of it. And I ran out of names, you know. At the end here I was making tributes. You know, I put in Carcosa which I figured nobody would get cause it's a really obscure reference. I didn't know 'True Detective' was gonna pick up the fucking thing a couple of years later! Then I put up K'Dath by the Grey Waste. And these are Lovecraftian references and all that, a total tip of the hat to H.P. Lovecraft, so I put all that in. Hey, you know, the story was never gonna go there, I figured "Ah, it's just a map, I'll put in real obscure things, some of the real hardcore fans will get the kick out of it". And that's fine.

So the mapbook comes out, and I've done all this time inventing cities and mountains and filling in maps, and I think I'm never gonna have to worry about it. Well, here comes "The World of Ice and Fire"! And here comes the notes: "Well, what about Yi Ti? We need an article about Yi Ti"! What are you gonna say about the Jogos Nhai? You gotta tell us something about that!" *laughs* So now I'm writing entire articles on the history of these places that I kind of had to invent in order to have something on the map - because I said that tapestry had Qarth in the middle! But, you know, once I get into it it's fun. You know, I'm inventing... You know, I mean, I could probably go off and write stories set in Yi Ti, with all of the various coloured emperors, and I'm inventing, and, you know, great emperors, and weird emperors, and stuff like that... And the history of Leng, and all of that stuff - that was cool - that's another Lovecraft thing I stole from Lovecraft... You know, when you steal from one previous writer - that's plagiarism, but when you steal from many of them - it's research. So keep that in mind. *laughs* So you guys probably picked up on all of that, right?

EG: Yeah, we definitely picked up on all of that, and I actually recall a couple of interview requests to us right after "True Detective" came out, like "Hey, Carcosa was on this map, like, before The True Detective - like, did George know about it, or what was going on?" and, like, we're trying to [tell?]: "Mate, this is a reference to Lovecraft and [just sharing wth??]..." There's actually a writer before that?.. Randolph...
GRRM: Robert Chambers.
EG: Robert Chambers before that, that was being "the Yellow King" and all this... So I know it was very cool to see it, people had great fun about that Lovecraftian stuff. And in The World of Ice and Fire there was this oily black stone that shows up in all these strange places...
LG: People got nuts for that one in particular, that's being discussed at-- yeah...
EG: Speaking of cool things, like, they were finding(?), like, people finding-- what they, like, so, like, really, really interesting... And who can say? That might mean something.

GRRM: You know, I like mystery. I like unexplained things. To me it makes the world richer, it makes it cooler if there's that stuff in the world. I mean, Lovecraft, to whom I made these notes to, created this cosmology that he never explained. You know, they were common references to stories, and he hinted at unspeakable mysteries and histories and, you know, vast aeons of lost civilizations and alien races and dark gods living among us. But it was all very disturbing and
very mysterious and very evocative. After he died, August Derleth, who was another writer and huge Lovecraft fan, completed many of his incompleted stories - and really regularized this. Derleth was not nearly the writer Lovecraft was, but he was a very methodical man. So he went through, and he came up with "Well, here's how you put all this together, and here's the entire history of all of the denizens in Lovecraft world. Here they're all related to each other." And, to my mind, he completely missed the point! That never should've been done here, we didn't need the history of the Great Old Ones and how they're related to the Ancient Ones and, you know, where the Yuggoth came into it and all of that... They were much better when they were just evocative and mysterious and disturbing, than when he put them all in a, you know, theology.

EG: [???With morning comes this fall???] obviously is about this very idea. I find the mysteries obviously is something many people are very interested, and obviously in the novels you ve mysteries of the past, mysteries of far places, you also have mysteries very present, about current things - I mean the first book is, you know, 'Who killed Jon Arryn?', and, you know, 'Who really tried to kill Bran?' Does mystery fiction-- is that something that-- one of the genres you're interesting in, or is it just the idea of mystery in general that leads you to put that kind of--?
GRRM: Well, I do like mystery fiction. That-- you know, the present day mysteries in Ice and Fire will be resolved, mostly. But I also like a certain-- but you know, the ancient histories of, you know, what lies beyond the Dark Curtain and where the Gods came from - no, I'm not gonna bring any gods on stage. I'm not gonna give you a complete history of Sothorios, you know. *laughs* The mysteries of Yin will have to remain mysterious and for people to, you know, to wonder about themselves. I think they're left better that way, a little more mysterious and cool. What was I gonna say about them... Yeah, I do also believe in a certain amount of ambiguity and subtlety. You know, going through this museum, you look at the display on king Karl XII who was shot in the head, and no one knows whether he was shot in the head by the enemy or his own men. We don't know that, it's ambiguous. It's right there on display: "Maybe he was killed by the Swedes and maybe by the Norwegians he was fighting". Who killed him? We'll never know. So if that's true in life, why shouldn't it be true in fiction? You know, what happened to the two princes in the Tower? You know, people are arguing about that, you know, 500 years later. Who killed them? Were they killed? Were they smuggled out and saved? Who knows. Why shouldn't we have similar mysteries in fiction that we can argue about and wonder about, since they exist in real life?

LG: I was just curious [...] As an author, when you introduce a mystery that you want to leave ambiguous, do you have the answer yourself all the time, or do you leave it ambiguous to yourself as well?

GRRM: In the vast majority of cases I know the answer to, you know, things like 'who killed Jon Arryn' and all of that. Sometimes I have the answer when I unfold it in the book, and I try to do it fairly subtly, you know. I don't tend to write the classic detective scene where, you know, everybody gets together in one room and he says: "And here are the clues, and I have put them together 'cause I am Ellery Queen or Sherlock Holmes or whatever and-- or Poirot, and here's what my little gray cells have told me". But the answer is there if the reader is paying attention, and you can put it together yourself. In.. some.
Q: The movie is always scarier before you see the monster, basically?
GRRM: *laughs* That is true.

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