by Caroline Lawrence
“A reader lives a thousand lives before he dies. The man who never reads lives only one.” Jojen Reed (via G.R.R. Martin)
Generally, I don't like fantasy.
Until recently, the only fantasy novel I ever loved was T.H. White's The Once and Future King, mainly for its amazing scenes written from the point of view of fish, birds and animals after young Arthur is wizarded into their bodies by Merlin.
But in the past week I have become squealing fangirl. Along with bazillions of others, including historian Tom Holland and politico journalist Toby Young, I'm in awe of George R.R. Martin, creator of Game of Thrones TV show, based on his fantasy series, A Song of Ice and Fire.
I've enjoyed watching all three seasons on TV, and had been giving all the credit to HBO, which had produced some impressive drama series, including my favourite historical drama: Deadwood.
Then last week I downloaded one of the Game of Thrones audiobooks – A Storm of Swords: Blood and Gold – to see what the underlying books were like. As a result, I am now a total convert to the brilliance of George R.R. Martin, or GRRM, as his fans call him.
Listening to this audiobook, I have been struck again and again by his storytelling skill. He uses tricks I know well, but that I often forget to employ. GRRM inspires my own writing even as I listen.
Here are a dozen great techniques of the craft that this master storyteller employs.
1. No good scenes, only great ones.
The American film director Howard Hawkes once famously said that a good movie 'has three great scenes and no bad ones.' But Martin raises the bar. Every single scene of the audiobook I'm listening to at the moment is great. The following points all help to achieve this.
2. multiple personalities.
By switching from one character's POV to another's, GRRM keeps the story racing along. It also keeps the action from becoming monotonous as we go from the head of a 9-year-old girl assassin to a middle-aged dwarf. Also, by putting us right in the heads of his characters, Martin makes us care about them, even the misfits.
3. Unpredictable storylines.
My husband says of Patrick O'Brian's books: ‘A storm is more exciting than a battle and a dinner-party can be more entertaining than either of those.’ Martin has the gift of making you feel exactly this. We read an account of a wedding, ferry ride or council-meeting knowing that anything can happen.
4. Torture and kill your darlings.
Martin’s willingness to torment, maim and kill off major characters enrages some fans. But without this ruthlessness we wouldn't find his stories half as compelling. The mortality looming over each character gives us a queasy sense that anything can happen.
5. Seeding in description.
A masterful storyteller sprinkles sensory detail in every chapter and doesn't shovel a great load of description into the middle of action. Notice how often descriptions of characters eating occur in Martin’s scenes. Eating is good because it involves all five senses: taste, touch, smell, hearing and sight. I think that's also why he uses so much sex. It's sensory as well as sensual.
6. Scene deepening
I've just listened to a scene where a couple make love in a basement room full of dragon skulls. By placing your characters in an exotic or compelling setting – created by seeded description (No. 5) – every scene becomes enthralling. The setting can be ironic or symbolic to contrast or underline what is happening in the scene. Hollywood screenwriters often call this 'scene deepening'.
7. Sexposition.
The late, great screenwriting guru Blake Snyder coined the phrase 'Pope in the Pool' after watching a movie in which a planned heist was being described as the pope paddled in his Vatican swimming pool. Make exposition painless by having something interesting happening at the same time. But GRRM has discovered something better than the pope in his pool. SEX! He uses sex so much to keep us interested during information dumps that television critic Myles McNutt coined the term 'sexposition'.
8. Original characters.
A teenage bride is brutalised by the hulking groom who has been foisted upon her by an arranged marriage. What does she do? She goes to the local prostitute for advice on how to win his heart. Horribly sexist? Maybe. But show me another character in contemporary pop media like her. GRRM didn't even have to add Tyrian. Or Arya. Or Jaime. He had me at Daenerys.
9. Odi et amo.
Speaking of Jaime. Get your readers to really detest a character. Then refine them through suffering and get their detractors rooting for them. Odi et amo, said the Latin poet Catullus. 'I love you and I hate you'. Joss Whedon did this with Spike. Do we love him or hate him? Stop messing with our emotions. No, wait! Don't stop!
10. No clichés
They say avoid clichés in your writing, but how many of us succeed? The only time I've caught GRRM using a cliché is when he puts it in the mouth of a character. Otherwise he's sublimely original, with analogies that make me want to grab strangers on the tube and share what I’ve just heard.
11. No capped teeth
One of the biggest criticisms levelled against The White Queen is the Timotei hair, posh southern accents and eyeshadow. (Read Sarah Gristwood's great review HERE) What detractors rarely mention is the overall beauty of the actors in these period dramas. GRRM's heroes are not all square-jawed alpha-males or blonde beauties. There are cripples, misfits and children. HBO has done well by casting actors who are not conventionally attractive (or wearing makeup) but who win us over by force of personality.
12. Make it REAL.
In GRRM’s books, things feel real. A warrior who loses his right hand does not instantly learn to fight just as well with his left. Arrows don't always find their mark. Characters get hungry, sleepy, sick and use the latrine. Even the 'fantasy' elements ring true. His ice-wall mammoths remind me of Hannibal's elephants in the Alps. And his dragons feel more real that any horse I've ever written.
And that's why I think Game of Thrones is the best historical fiction being written at the moment.
 |
| somewhere in the middle of the series |
Generally, I don't like fantasy.
Until recently, the only fantasy novel I ever loved was T.H. White's The Once and Future King, mainly for its amazing scenes written from the point of view of fish, birds and animals after young Arthur is wizarded into their bodies by Merlin.
But in the past week I have become squealing fangirl. Along with bazillions of others, including historian Tom Holland and politico journalist Toby Young, I'm in awe of George R.R. Martin, creator of Game of Thrones TV show, based on his fantasy series, A Song of Ice and Fire.
I've enjoyed watching all three seasons on TV, and had been giving all the credit to HBO, which had produced some impressive drama series, including my favourite historical drama: Deadwood.
Then last week I downloaded one of the Game of Thrones audiobooks – A Storm of Swords: Blood and Gold – to see what the underlying books were like. As a result, I am now a total convert to the brilliance of George R.R. Martin, or GRRM, as his fans call him.
Listening to this audiobook, I have been struck again and again by his storytelling skill. He uses tricks I know well, but that I often forget to employ. GRRM inspires my own writing even as I listen.
Here are a dozen great techniques of the craft that this master storyteller employs.
1. No good scenes, only great ones.
The American film director Howard Hawkes once famously said that a good movie 'has three great scenes and no bad ones.' But Martin raises the bar. Every single scene of the audiobook I'm listening to at the moment is great. The following points all help to achieve this.
2. multiple personalities.
By switching from one character's POV to another's, GRRM keeps the story racing along. It also keeps the action from becoming monotonous as we go from the head of a 9-year-old girl assassin to a middle-aged dwarf. Also, by putting us right in the heads of his characters, Martin makes us care about them, even the misfits.
3. Unpredictable storylines.
My husband says of Patrick O'Brian's books: ‘A storm is more exciting than a battle and a dinner-party can be more entertaining than either of those.’ Martin has the gift of making you feel exactly this. We read an account of a wedding, ferry ride or council-meeting knowing that anything can happen.
4. Torture and kill your darlings.
Martin’s willingness to torment, maim and kill off major characters enrages some fans. But without this ruthlessness we wouldn't find his stories half as compelling. The mortality looming over each character gives us a queasy sense that anything can happen.
5. Seeding in description.
A masterful storyteller sprinkles sensory detail in every chapter and doesn't shovel a great load of description into the middle of action. Notice how often descriptions of characters eating occur in Martin’s scenes. Eating is good because it involves all five senses: taste, touch, smell, hearing and sight. I think that's also why he uses so much sex. It's sensory as well as sensual.
6. Scene deepening
I've just listened to a scene where a couple make love in a basement room full of dragon skulls. By placing your characters in an exotic or compelling setting – created by seeded description (No. 5) – every scene becomes enthralling. The setting can be ironic or symbolic to contrast or underline what is happening in the scene. Hollywood screenwriters often call this 'scene deepening'.
7. Sexposition.
The late, great screenwriting guru Blake Snyder coined the phrase 'Pope in the Pool' after watching a movie in which a planned heist was being described as the pope paddled in his Vatican swimming pool. Make exposition painless by having something interesting happening at the same time. But GRRM has discovered something better than the pope in his pool. SEX! He uses sex so much to keep us interested during information dumps that television critic Myles McNutt coined the term 'sexposition'.
8. Original characters.
A teenage bride is brutalised by the hulking groom who has been foisted upon her by an arranged marriage. What does she do? She goes to the local prostitute for advice on how to win his heart. Horribly sexist? Maybe. But show me another character in contemporary pop media like her. GRRM didn't even have to add Tyrian. Or Arya. Or Jaime. He had me at Daenerys.
9. Odi et amo.
Speaking of Jaime. Get your readers to really detest a character. Then refine them through suffering and get their detractors rooting for them. Odi et amo, said the Latin poet Catullus. 'I love you and I hate you'. Joss Whedon did this with Spike. Do we love him or hate him? Stop messing with our emotions. No, wait! Don't stop!
10. No clichés
They say avoid clichés in your writing, but how many of us succeed? The only time I've caught GRRM using a cliché is when he puts it in the mouth of a character. Otherwise he's sublimely original, with analogies that make me want to grab strangers on the tube and share what I’ve just heard.
 |
| Gemma Whelan in Game of Thrones |
One of the biggest criticisms levelled against The White Queen is the Timotei hair, posh southern accents and eyeshadow. (Read Sarah Gristwood's great review HERE) What detractors rarely mention is the overall beauty of the actors in these period dramas. GRRM's heroes are not all square-jawed alpha-males or blonde beauties. There are cripples, misfits and children. HBO has done well by casting actors who are not conventionally attractive (or wearing makeup) but who win us over by force of personality.
12. Make it REAL.
In GRRM’s books, things feel real. A warrior who loses his right hand does not instantly learn to fight just as well with his left. Arrows don't always find their mark. Characters get hungry, sleepy, sick and use the latrine. Even the 'fantasy' elements ring true. His ice-wall mammoths remind me of Hannibal's elephants in the Alps. And his dragons feel more real that any horse I've ever written.
And that's why I think Game of Thrones is the best historical fiction being written at the moment.
