A Quote by George R. R. Martin

I wanted to write a big novel, something epic in scale. — © George R. R. Martin
I wanted to write a big novel, something epic in scale.
English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.
I love reading epic fantasies and big fat books and so I really wanted to write one. I think you always write what you want to read.
I'm struggling with what is epic. People decided I was epic - if by epic, do you mean a big, heavy book? 'David Copperfield' is a big book - is it epic? Amount of time covered, length, drama, or story - that's the real appeal - if the story is long you have a better chance of becoming more connected.
All my friends who wanted to write had got nowhere trying to write the great European novel. So I deliberately steered clear of that and set out to write something story-led.
To make three films out of one shortish book, they have to turn it into an epic, just as 'Lord of the Rings' is an epic. But 'The Hobbit' isn't an epic: its tone is intimate and personal, and although it's full of adventures and excitement, they're on a different scale to those of the bigger book.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
I always was interested in prose. As a teenager, I published short stories. And I always wanted to write the long short story, I wanted to write a novel. Now that I have attained, shall I say, a respectable age, and have had experiences, I feel much more interested in prose, in the novel. I feel that in a novel, for example, you can get in toothbrushes and all the paraphernalia that one finds in dally life, and I find this more difficult in poetry.
When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.
I've always wanted to play a role as a producer and a curator and to help make drag really have an epic scale and a large audience and a lot of interest.
I was thinking about what I wanted to write next, after my first novel, and had decided that I wanted to write a story with a lot of strong female characters in it.
I didn't want to just write a series - I wanted to write an epic, on story that spans three books, where decisions made in the first impact the last.
It's an unusual way to write a crime novel, to have these lingering, fairly large story points, but it's something I knew I had to do if I wanted to write a sequel...but, you know, people still have to read and enjoy this book, or it's a moot point.
In scale, 'Fortitude' is just as big as 'Game of Thrones.' It's equally as epic - it's just starting out.
I think it is our job, as writers, to be epic. Epic and tiny at the same time. If you're going to be a fiction writer, why not take on something that means something. In doing this, you must understand that within that epic structure it is the tiny story that is possibly more important.
I wrote a graphic novel called 'Soul Stealer' with big, beautiful, epic artwork by Chris Shy. It grew into a trilogy.
You no longer have much in the way of knowing what to do in a big, epic novel about the future, because nobody knows what the hell is going to happen.
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