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.

I've written some standalone novels, but a book series allows fans in. There's much more intense involvement.

'Rome' was one of my favourite shows, and I wish HBO had given it three more seasons 'cause I would have loved to continue watching it.

I prefer to work with grey characters rather than black and white.

I have done a lot of work in Hollywood myself. I worked in television for roughly 10 years, from the mid-'80s to mid-'90s. And I was on staff at a couple of shows. I did some feature films, including originals and adaptations.

Of course it's not enough to be a good man to be an effective ruler and it never has been.

My characters who come back from death are worse for wear. In some ways, they're not even the same characters anymore. The body may be moving, but some aspect of the spirit is changed or transformed, and they've lost something.

There are writers, and I know some of them, who are very disciplined. Who write, like, four pages a day, every day. And it doesn't matter if their dog got run over by a car that day, or they won the Irish sweepstakes. I'm not one of those writers.

There is magic in my universe, but it's pretty low magic compared to other fantasies.

I was a novelist first. But in the mid-'80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, 'You know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this.'

It's really irritating when you open a book, and 10 pages into it you know that the hero you met on page one or two is gonna come through unscathed, because he's the hero. This is completely unreal, and I don't like it.

I have an instinctual distrust of conventional happy endings.

'Dreamsongs' allows me to show the scope of my writing - with personal commentary that puts the works in context and includes some autobiographical details intended to reveal how each piece came to be, what it represents, and how it has formed, or been informed by, my philosophy of writing.

I think in television and film, it's not usually the child's point of view. It's the story of an adult. If there's a child in a drama or an action-adventure movie, they're someone who needs to be saved, someone who needs to be protected, or if they're killed, someone who needs to be avenged. Their character doesn't matter much.

A lot of writing takes place in the subconscious, and it's bound to have an effect.

I like grey characters; fantasy for too long has been focused on very stereotypical heroes and villains.

I suppose I'm a lapsed Catholic. You would consider me an atheist or agnostic.

One of the big breakthroughs, I think for me, was reading Robert A. Heinlein's four rules of writing, one of which was, 'You must finish what you write.' I never had any problem with the first one, 'You must write' - I was writing since I was a kid. But I never finished what writing.

I've said in many interviews that I like my fiction to be unpredictable. I like there to be considerable suspense.

Start with short stories. After all, if you were taking up rock climbing, you wouldn't start with Mount Everest. So if you're starting fantasy, don't start with a nine-book series.

All fiction has to have a certain amount of truth in it to be powerful.

It's like these ideas, these characters, kind of bubble up inside me, and one day they're not there, and the next day they are there. They're alive, and they're whispering in my head and all that stuff, and I want to write about those things.

Many writers will get a contract by selling chapters and outlines or something like that. I wrote the entire novel, and when it was all finished, I would give it to my agent and say, 'Well, here's a novel; sell it if you can.' And they would do that, and it was good because I never had anyone looking over my shoulder.

Boy, there are days where I get up and say 'Where the hell did my talent go? Look at this crap that I'm producing here. This is terrible. Look, I wrote this yesterday. I hate this, I hate this.'

I'm a huge fan of Tolkien. I read those books when I was in junior high school and high school, and they had a profound effect on me. I'd read other fantasy before, but none of them that I loved like Tolkien.

I can see a scene in my head, and when I try to get it down in words on paper, the words are clunky; the scene is not coming across right. So frustrating. And there are days where it keeps flowing. Open the floodgates, and there it is. Pages and pages coming. Where the hell does this all come from? I don't know.

I have many books that I want to write; I'd like to think that I'll be around for another 20 years or so and write another dozen novels, probably some sort of imaginative literature... Never again another seven-volume saga.

The odd thing about being a writer is you do tend to lose yourself in your books. Sometimes it seems like real life is flickering by and you're hardly a part of it. You remember the events in your books better than you remember the events that actually took place when you were writing them.

I work for two years on a book and it comes out and two days later I've got my first e-mail: When is the next one coming out?

With a book I am the writer and I am also the director and I'm all of the actors and I'm the special effects guy and the lighting technician: I'm all of that. So if it's good or bad, it's all up to me.

I don't know if I have any particular views about women in positions of power, though I do think it's more difficult for women, particularly in a Medieval setting. They have the additional problem that they're a woman and people don't want them in a position of power in an essentially patriarchal society.

There are some examples of medieval kings who were terrible human beings but were nevertheless good kings.

I have idea files of books that I want to write one of these days, stories I want to write one of these days, but I'll probably never get to them.

There has to be a level of joy of what you're doing.

Writing is hard. I mean, I sit there and work at it.

I know some writers can write on the road, but I'm not one of them.

You can have the power to destroy, but it doesn't give you the power to reform, or improve, or build.

I have always been a dark writer.

Don't write outlines; I hate outlines.

I have a huge emotional attachment to characters I've created, especially the viewpoint characters.

When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.

In my 10 years that I spent out in TV and film, I had my shares of frustrations and annoyances and disappointments, but also I think it was, in the long run, it was very good for me in a whole bunch of ways.

I'm one of those writers who say, 'I've enjoy having written.'

I wrote six pilots, none of which ever got picked up. When you stop trying, it then it falls in your lap.

The success that the Tolkien books had redefined modern fantasy.

As much as I love historical fiction, my problem with historical fiction is that you always know what's going to happen.

One of the things I love, and I'm a voracious reader as well as a writer, is books that surprise me, that are not predictable.

I have files, I have computer files and, you know, files on paper. But most of it is really in my head. So God help me if anything ever happens to my head!

If you go all the way back, I've always written science-fiction, I've always written fantasy, I've always written horror stories and monster stories, right from the beginning of my career. I've always moved back and forth between the genres. I don't really recognise that there's a significant difference between them in some senses.

I spent a whole summer working on what proved to be 'A Game of Thrones'.