The old man laid a withered, spotted hand on his shoulder. "It hurts, boy," he said softly. "Oh, yes. Choosing . . . it has always hurt. And always will. I know.

When Maester Aemon heard him sing, he said his voice was honey poured over thunder.

The singers make much of kings who die valiantly in battle, but your life is worth more than a song.

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.]

They say it grows so cold up here in winter that a man’s laughter freezes in his throat and chokes him to death,” Ned said evenly. “Perhaps that is why the Starks have so little humor.

I hate outlines. I have a broad sense of where the story is going; I know the end, I know the end of the principal characters, and I know the major turning points and events from the books, the climaxes for each book, but I don't necessarily know each twist and turn along the way. That's something I discover in the course of writing and that's what makes writing enjoyable. I think if I outlined comprehensively and stuck to the outline the actual writing would be boring.

The intelligent and efficient politician is a species virtually unknown in the galaxy. Perhaps I might secure a scraping [for my] cell library.