I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]

The truth is all around you, plain to behold. The night is dark and full of terrors, the day bright and beautiful and full of hope. One is black, the other white. There is ice and there is fire. Hate and love. Bitter and sweet. Male and female. Pain and pleasure. Winter and summer. Evil and good. Death and life. Everywhere, opposites.

He drew the dagger and laid it on the table between them; a length of dragonbone and Valyrian steel, as sharp as the difference between right and wrong, between true and false, between life and death.

I knew that, when writing a book, you're not constrained by a budget. You're not constrained by what you can do, in terms of the special effects technology. You're not limited to any particular running time.

Love is sweet, dearest Ned, but it cannot change a man's nature. -- Lyanna

And all was black and still, and black and cold, and black and dead, and black.

Sometimes he could almost forget that it was there, the way you forget about the sky or the earth underfoot, but there were other times when it seemed as if there was nothing else in the world.