Editing A Song of Ice and Fire (section)

==Inspiration and writing==
===Genre===
{{further|Themes in A Song of Ice and Fire}}
{{Quote box | quote="[Martin's ''Ice and Fire'' series] was groundbreaking (at least for me) in all kinds of ways. Above all, the books were extremely unpredictable, especially in a genre where readers have come to expect the intensely predictable. [...] ''A Game of Thrones'' was profoundly shocking when I first read it, and fundamentally changed my notions about what could be done with epic fantasy." | source =—Fantasy writer [[Joe Abercrombie]] in 2008<ref name=joeabercrombie/> | width =250px | align =right}}
George R. R. Martin believes the most profound influences to be the ones experienced in childhood.<ref name=deepmagic41/> Having read [[H. P. Lovecraft]], [[Robert E. Howard]], [[Robert A. Heinlein]], [[Eric Frank Russell]], [[Andre Norton]],<ref name=grmm_iv_weirdtm/> [[Isaac Asimov]],<ref name=fantasyonline/> [[Fritz Leiber]], and [[Mervyn Peake]]<ref name=grrm_iv_sfsite2/> in his youth, Martin never categorized these authors' literature into science fiction, fantasy, or horror and will write from any genre as a result.<ref name=deepmagic41/> Martin classified ''A Song of Ice and Fire'' as "[[epic fantasy]]",<ref name=guardian_barbarians/> and specifically named [[Tad Williams]]' high fantasy epic ''[[Memory, Sorrow, and Thorn]]'' as very influential for the writing of the series.<ref name=fantasyonline/><ref name=grrm_iv_sfsite2/> One of his favorite authors is [[Jack Vance]],<ref name=fantasyonline/> although Martin considered the series not particularly Vancean.<ref name=grrm_iv_infinityplus/>

Martin experienced some harsh winters when living in [[Dubuque]] a few years in the 1970s, and suspects these winters had an influence on his writing: "I think a lot of the stuff in ''A Game of Thrones'', the snow and ice and freezing, comes from my memories of Dubuque".<ref name=vanityfair_catchup/>

The medieval setting has been the traditional background for epic fantasy. However, where historical fiction leaves versed readers knowing the historical outcome,<ref name=grrm_iv_sfsite2/> original characters may increase suspense and empathy for the readers.<ref name=deepmagic41/> Yet Martin felt historical fiction, particularly when set during the Middle Ages, had an excitement, grittiness, and a realness to it that was absent in fantasy with a similar backdrop.<ref>[http://njmonthly.com/articles/lifestyle/NJM-Q-and-A/qa-with-george-rr-martin.html Q&A With George R.R. Martin] {{webarchive|url=https://web.archive.org/web/20140619182600/http://njmonthly.com/articles/lifestyle/NJM-Q-and-A/qa-with-george-rr-martin.html |date=June 19, 2014 }}</ref> Thus, he wanted to combine the realism of historical fiction with the magic appeal of the best fantasies,<ref name=time_grrm_ivp2/> subduing magic in favor of battles and political intrigue.<ref name=grrm_iv_januarymagazine/> He also decided to avoid the conventional good versus evil setting typical for the genre, using the fight between Achilles and Hector in [[Homer]]'s ''[[Iliad]]'', where no one stands out as either a hero or a villain, as an example of what he wants to achieve with his books.<ref name="adriasnews">{{cite web |url=http://www.adriasnews.com/2012/10/george-r-r-martin-interview.html |title=Adria's News: George R.R. Martin: "Trying to please everyone is a horrible mistake" |publisher=adriasnews.com |access-date=October 2, 2015 |archive-url=https://web.archive.org/web/20170802120426/http://www.adriasnews.com/2012/10/george-r-r-martin-interview.html |archive-date=August 2, 2017 |url-status=live }}</ref>

Martin is widely credited with broadening the fantasy fiction genre for adult content.<ref name=newyorker/> Writing for ''[[The Atlantic]]'', Amber Taylor assessed the novels as [[hard fantasy]] with vulnerable characters to which readers become emotionally attached.<ref name=atlantic_brutal/> [[CNN]] found in 2000 that Martin's mature descriptions were "far more frank than those found in the works of other fantasy authors",<ref name=cnn/> although Martin assessed the fantasy genre to have become rougher-edged a decade later and that some writers' work was going beyond the mature themes of his novels.<ref name=indigo_iv1/> [[Adam Roberts (British writer)|Adam Roberts]] called Martin's series the most successful and popular example of the emerging subgenre of [[grimdark]] fantasy.<ref name="Roberts 2014">{{cite book|last1=Roberts|first1=Adam|title=Get Started in: Writing Science Fiction and Fantasy|date=2014|publisher=Hachette UK|url=https://books.google.com/books?id=T2rEAwAAQBAJ&pg=PT42|isbn=9781444795660|page=42|access-date=January 31, 2015|archive-url=https://web.archive.org/web/20150522033232/https://books.google.com/books?id=T2rEAwAAQBAJ&pg=PT42|archive-date=May 22, 2015|url-status=live}}</ref>

===Writing process===
[[File:Richard Burchett - Sanctuary (1867) contrasted.jpg|thumb|upright=1.4|''A Song of Ice and Fire'' series was partly inspired by the [[Wars of the Roses]], a series of dynastic civil wars for the throne of England. This painting ''[[Sanctuary (painting)|Sanctuary]]'' by [[Richard Burchett]] portrays [[Edward IV]] demanding that his defeated enemies be taken from [[Tewkesbury Abbey]].]]
Setting out to write something on an epic scale,<ref name=cnn/> Martin projected to write three books of 800 manuscript pages in the very early stages of the series.<ref name=grrm_iv_sfsite2/> His original 1990s contract specified one-year deadlines for his previous literary works, but Martin only realized later that his new books were longer and hence required more writing time.<ref name=grrm_iv_locusmag/> In 2000, Martin planned to take 18 months to two years for each volume and projected the last of the planned six books to be released five or six years later.<ref name=scifi_magical_tale/> However, with ''A Song of Ice and Fire'' series evolving into the biggest and most ambitious story he has ever attempted writing,<ref name=grrm_iv_consumerhelpweb/> he still has two more books to finish {{as of|2024
|lc=y}}. Martin said he needed to be in his own office in [[Santa Fe, New Mexico]] to immerse himself in the fictional world and write.<ref name=grrm_iv_januarymagazine/> {{as of|2011}}, Martin was still typing his fiction on an [[IBM PC compatible]] computer running [[MS-DOS]] with [[WordStar|WordStar 4.0]].<ref name=grrm_blog_110217/> He begins each day at 10&nbsp;am with rewriting and polishing the previous day's work,<ref name=deepmagic41/> and may write all day or struggle to write anything.<ref name=grrm_iv_januarymagazine/> Excised material and previous old versions are saved to be possibly re-inserted at a later time.<ref name=grrm_iv_consumerhelpweb/> Martin does not consider ''A Song of Ice and Fire'' a "series" but a single story published in several volumes.<ref>{{cite web|url=https://grrm.livejournal.com/562606.html|title=Hugo Nominations Open|last=grrm|date=February 7, 2018|access-date=February 8, 2018|archive-url=https://web.archive.org/web/20180209155057/https://grrm.livejournal.com/562606.html|archive-date=February 9, 2018|url-status=live}}</ref>

Martin set the ''A Song of Ice and Fire'' story in a [[secondary world]] inspired by Tolkien's writing.<ref name=grmm_iv_ew/> Unlike Tolkien, who created entire languages, mythologies, and histories for Middle-earth long before writing ''[[The Lord of the Rings]]'', Martin usually starts with a rough sketch of an imaginary world that he improvises into a workable fictional setting along the way.<ref name=newyorker/> He described his writing as coming from a subconscious level in "almost a daydreaming process",<ref name=dragonsworn/> and his stories, which have a mythic rather than a scientific core, draw from emotion instead of rationality.<ref name=grmm_iv_weirdtm/> Martin employs maps<ref name=grrm_iv_januarymagazine/> and a cast list topping 60 pages in the fourth volume,<ref name=nytimes_vile_hobbits/> but keeps most information in his mind.<ref name=guardian_barbarians/> His imagined backstory remains subject to change until published, and only the novels count as [[canon (fiction)|canon]].<ref name=grrm_iv_consumerhelpweb/> Martin does not intend to publish his private notes after the series is finished.<ref name=grrm_iv_januarymagazine/>

Martin drew much inspiration from actual history for the series,<ref name=deepmagic41/> having several bookcases filled with medieval history for research<ref name=grrm_iv_sffworld/> and visiting historic European landmarks.<ref name=scifi_fowl/> For an American who speaks only English, the history of England proved the easiest source of medieval history for him, giving the series a British rather than a German or Spanish historic flavor.<ref name=grmm_iv_polish/> For example, Ned and Robb Stark resemble [[Richard, 3rd Duke of York]], and his son [[Edward IV]], and Queen Cersei resembles both [[Margaret of Anjou]]<ref name="west20140329">{{cite news | url=http://www.spectator.co.uk/arts/television/9168401/game-of-thrones-tells-the-story-of-britain-better-than-most-non-fiction/ | title=Game of Thrones tells the story of Britain better than most histories | work=The Spectator | date=March 29, 2014 | access-date=March 27, 2014 | author=West, Ed | archive-url=https://web.archive.org/web/20150928045307/http://www.spectator.co.uk/arts/television/9168401/game-of-thrones-tells-the-story-of-britain-better-than-most-non-fiction/ | archive-date=September 28, 2015 | url-status=live }}</ref> and [[Elizabeth Woodville]].<ref>{{cite web | last=Adair | first=Jamie | title=Cersei Lannister: the evil queen we love to hate | url=http://history-behind-game-of-thrones.com/warofroses/cersei | website=historygot.com | date=May 5, 2013 | access-date=May 18, 2015 | archive-url=https://web.archive.org/web/20170916105547/http://history-behind-game-of-thrones.com/warofroses/cersei | archive-date=September 16, 2017 | url-status=live }}</ref> Martin immersed himself in many diverse medieval topics such as clothing, food, feasting, and tournaments to have the facts at hand if needed during writing.<ref name=scifi_magical_tale/> The series was in particular influenced by the [[Hundred Years' War]], the [[Crusades]], the [[Albigensian Crusade]], and the [[Wars of the Roses]],<ref name=deepmagic41/><ref name=grrm_iv_sffworld/> although Martin refrained from making any direct adaptations.<ref name=deepmagic41/> Martin was also inspired by the French historical novels ''[[The Accursed Kings]]'' by [[Maurice Druon]], which are about the [[French monarchy]] in the 13th and 14th centuries.<ref name="bbc french"/><ref name="jewish legacy"/> Martin has also said that important events of the narrative, such as the 
"Red Wedding", a crucial twist in ''A Storm of Swords'',<ref>{{Cite web |url=https://www.thevintagenews.com/2018/03/10/game-of-thrones-red-wedding/ |title=Game of Thrones' Red Wedding is based on Scotland's Black Dinner in 1440 and Glencoe Massacre of 1692 |date=March 10, 2018 |access-date=March 17, 2020 |archive-url=https://web.archive.org/web/20200317205430/https://www.thevintagenews.com/2018/03/10/game-of-thrones-red-wedding/ |archive-date=March 17, 2020 |url-status=live }}</ref> are based on events in Scottish history such as the [[Black Dinner]] of 1440 and the [[Massacre of Glencoe]] in 1692.<ref>{{cite web |last1=Conradt |first1=Stacy |title=The real-life events that inspired Game of Thrones' Red Wedding |url=https://theweek.com/articles/463588/reallife-events-that-inspired-game-thrones-red-wedding |website=The Week |date=June 5, 2013 |access-date=10 November 2021}}</ref>

Martin has also drawn from Roman history for inspiration, comparing Stannis Baratheon to the Roman Emperor [[Tiberius]].<ref>{{cite web |url=https://www.youtube.com/watch?v=zYeJMwAhMTY | archive-url=https://ghostarchive.org/varchive/youtube/20211028/zYeJMwAhMTY| archive-date=2021-10-28|title=George RR Martin on the Inspiration for Stannis Baratheon |author=Aegon Targaryen |website=YouTube |date=April 4, 2018 |access-date=August 28, 2021 |url-status=live}}{{cbignore}}</ref> 

The story is written to follow principal landmarks with an ultimate destination, but leaves Martin room for improvisation. On occasion, improvised details significantly affected the planned story.<ref name=time_grrm_ivp3/> By the fourth book, Martin kept more private notes than ever before to keep track of the many subplots,<ref name=fantasyonline/> which became so detailed and sprawling by the fifth book as to be unwieldy.<ref name=ew_fantasy_king/> Martin's editors, copy editors, and readers monitor for accidental mistakes,<ref name=fantasyonline/> although some errors have slipped into publication. For instance, Martin has inconsistently referred to certain characters' eye colors, and has described a horse as being of one sex and then another.<ref name=newyorker/>

===Narrative structure===
{| class="wikitable sortable collapsible" style="text-align:center; float:right;"
|+Number of chapters per point-of-view character<!--in order of first POV chapter-->
|-
! POV character !! ''[[A Game of Thrones|Game]]'' !! ''[[A Clash of Kings|Clash]]'' !! ''[[A Storm of Swords|Storm]]'' !! ''[[A Feast for Crows|Feast]]'' !! ''[[A Dance with Dragons|Dance]]'' !! ''[[The Winds of Winter|Winds]]'' !! style="border-left:2px solid gray;"|'''Sum'''
|-
! [[Bran Stark]]
| 7 || 7 || 4 || style="background:lightgrey;"| || 3 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 21
|-
! [[Catelyn Stark]]
| 11 || 7 || 7 || style="background:pink;"| || style="background:lightgrey;"| || style="background:pink;"| || style="border-left:2px solid gray;"| 25
|-
! [[Daenerys Targaryen]]
| 10 || 5 || 6 || style="background:lightgrey;"| || 10 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 31
|-
! [[Eddard Stark]]
| 15 || style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 15
|-
! [[Jon Snow (character)|Jon Snow]]
| 9 || 8 || 12 || style="background:pink;"| || 13 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 42
|-
! [[Arya Stark]]
| 5 || 10 || 13 || 3 || 2 || {{sort|01|≥1<ref name=dancingincircles/>}} || style="border-left:2px solid gray;"| {{sort|34|≥34}}
|-
! [[Tyrion Lannister]]
| 9 || 15 || 11 || style="background:lightgrey;"| || 12 || {{sort|02|≥2<ref name=harpvoy_eastercon/>}} || style="border-left:2px solid gray;"| {{sort|049|≥49}}
|-
! [[Sansa Stark]]
| 6 || 8 || 7 || 3 || style="background:lightgrey;"| || {{sort|01|≥1<ref name=dancingincircles/>}} || style="border-left:2px solid gray;"| {{sort|025|≥25}}
|-
! [[Davos Seaworth]]
| style="background:lightgrey;"| || 3 || 6 || style="background:lightgrey;"| || 4 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 13
|-
! [[Theon Greyjoy]]
| style="background:pink;"| || 6 || style="background:lightgrey;"| || style="background:lightgrey;"| || 7 || {{sort|01|≥1<ref name=nydailynews_sample_chapter/>}} || style="border-left:2px solid gray;"| {{sort|014|≥14}}
|-
! [[Jaime Lannister]]
| style="background:pink;"| || style="background:pink;"| || 9 || 7 || 1 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 17
|-
! [[Samwell Tarly]]
| style="background:pink;"| || style="background:pink;"| || 5 || 5 || style="background:pink;"| || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 10
|-
! [[Aeron Greyjoy]]
| style="background:lightgrey;"| || style="background:pink;"| || style="background:lightgrey;"| || 2 || style="background:lightgrey;"| || {{sort|01|≥1<ref name=grrm_blog_200721/>}} || style="border-left:2px solid gray;"| {{sort|003|≥3}}
|-
! [[Areo Hotah]]
| style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || 1 || 1 || {{sort|01|≥1<ref>{{cite web|url=http://grrm.livejournal.com/487298.html?thread=24441730#t24441730|title=A Taste of This, A Taste of That|first=George R. R.|last=Martin|date=May 10, 2016|author-link=George R. R. Martin|publisher=[[Not a Blog]]|access-date=November 25, 2016|archive-url=https://web.archive.org/web/20170114074311/http://grrm.livejournal.com/487298.html?thread=24441730#t24441730|archive-date=January 14, 2017|url-status=live}}</ref>}} || style="border-left:2px solid gray;"| {{sort|003|≥3}}
|-
! [[Cersei Lannister]]
| style="background:pink;"| || style="background:pink;"| || style="background:pink;"| || 10 || 2 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 12
|-
! [[Brienne of Tarth]]
| style="background:lightgrey;"| || style="background:pink;"| || style="background:pink;"| || 8 || style="background:pink;"| || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 8
|-
! [[Asha Greyjoy]]
| style="background:lightgrey;"| || style="background:pink;"| || style="background:lightgrey;"| || 1 || 3 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 4
|-
! [[Arys Oakheart]]
| style="background:pink;"| || style="background:pink;"| || style="background:lightgrey;"| || 1 || style="background:lightgrey;"| || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 1
|-
! [[Victarion Greyjoy]]
| style="background:lightgrey;"| || style="background:pink;"| || style="background:lightgrey;"| || 2 || 2 || {{sort|01|≥1<ref name=harpvoy_eastercon/>}} || style="border-left:2px solid gray;"| {{sort|005|≥5}}
|-
! [[Arianne Martell]]
| style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || 2 || style="background:pink;"| || {{sort|02|≥2<ref name=dancingincircles/>}} || style="border-left:2px solid gray;"| {{sort|004|≥4}}
|-
! [[Quentyn Martell]]
| style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || 4 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 4
|-
! [[Jon Connington]]
| style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || style="background:lightgrey;"| || 2 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 2
|-
! [[Melisandre]]
| style="background:lightgrey;"| || style="background:pink;"| || style="background:pink;"| || style="background:lightgrey;"| || 1 || style="background:lightgrey;"| || style="border-left:2px solid gray;"| 1
|-
! [[Barristan Selmy]]
| style="background:pink;"| || style="background:pink;"| || style="background:pink;"| || style="background:lightgrey;"| || 4 || <ref name=grrm_blog_131029/>
{{better source needed|date=December 2016}}
|-
! Prologue/Epilogue
| {{sort|1|1/–}} || {{sort|1|1/–}} || {{sort|2|1/1}} || {{sort|1|1/–}} || {{sort|2|1/1}} || {{sort|01|1/TBD}} || style="border-left:2px solid gray;"| {{sort|008|≥8}}
|- style="border-top:2px solid gray;"
! Total (characters)
| 73 (9) || 70 (10) || 82 (12) || 46 (13) || 73 (18) || {{sort|13 (9)|≥13 (≥9)}} || style="border-left:2px solid gray;"|{{sort|357 (32)|≥357 (≥24)}}
|}

{| class="wikitable" style="text-align:center; float:right; margin: 0em 1em 0em 0em;"
|-
| style="background: white" | &nbsp;
| Appears as a POV character
|-
| style="background: pink" | &nbsp;
| Appears as a non-POV character
|-
| style="background: lightgrey" | &nbsp;
| No appearance
|}

The books are divided into chapters, each one narrated in the [[third person limited]] through the eyes of a [[point of view (literature)|point of view]] character,<ref name=newyorker/> an approach Martin learned himself as a young journalism student.<ref name=indiewire_10things/> Beginning with nine POV characters in ''A Game of Thrones'', the number of POV characters grows to a total of 31 in ''A Dance with Dragons'' (see table). The short-lived one-time POV characters are mostly restricted to the [[prologue]]s and [[epilogue]]s.<ref name=scifi_magical_tale/> [[David Orr (journalist)|David Orr]] of ''[[The New York Times]]'' noted the importance of "the [[House Stark|Starks]] (good guys), the [[House Targaryen|Targaryens]] (at least one good guy, or girl), the [[House Lannister|Lannisters]] (conniving), the [[House Greyjoy|Greyjoys]] (mostly conniving), the [[House Baratheon|Baratheons]] (mixed bag), the [[House Tyrell|Tyrells]] (unclear), and the [[House Martell|Martells]] (ditto), most of whom are feverishly endeavoring to advance their ambitions and ruin their enemies, preferably unto death".<ref name=nytimes_rise_fantasy/> However, as ''[[Time (magazine)|Time]]''{{'s}} [[Lev Grossman]] noted, readers "experience the struggle for Westeros from all sides at once", such that "every fight is both triumph and tragedy [...] and everybody is both hero and villain at the same time".<ref name=time_masterpiece_tolkien/>

Modeled on ''The Lord of the Rings'', the story of ''A Song of Ice and Fire'' begins with a tight focus on a small group (with everyone in [[Winterfell]], except Daenerys) and then splits into separate stories. The storylines are to converge again, but finding the turning point in this complex series has been difficult for Martin and has slowed down his writing. Depending on the interview, Martin is said to have reached the turning point in ''A Dance with Dragons'',<ref name=atlantic_sex_fantasy/> or to not quite have reached it yet in the books.<ref name=io9_gods/> The series' structure of multiple POVs and interwoven storylines was inspired by ''[[Wild Cards]]'', a multi-authored shared universe book series edited by Martin since 1985.<ref name=grrm_iv_boomtron/> As the sole author, Martin begins each new book with an outline of the chapter order and may write a few successive chapters from a single character's viewpoint instead of working chronologically. The chapters are later rearranged to optimize character intercutting, chronology, and suspense.<ref name=scifi_magical_tale/>

Influenced by his television and film scripting background, Martin tries to keep readers engrossed by ending each ''A Song of Ice and Fire'' chapter with a tense or revelational moment, a twist or a [[cliffhanger]], similar to a TV [[act structure|act break]].<ref name=time_grrm_ivp1/> Scriptwriting has also taught him the technique of "cutting out the fat and leaving the muscle", which is the final stage of completing a book, a technique that brought the page count in ''A Dance with Dragons'' down almost eighty pages.<ref name=grrm_blog_110519/> Dividing the continuous ''A Song of Ice and Fire'' story into books is much harder for Martin. Each book shall represent a phase of the journey that ends in closure for most characters. A smaller portion of characters is left with clear-cut cliffhangers to make sure readers come back for the next installment, although ''A Dance with Dragons'' had more cliffhangers than Martin originally intended.<ref name=grmm_iv_ew/><ref name=scifi_magical_tale/> Both one-time and regular POV characters are designed to have full character arcs ending in tragedy or triumph,<ref name=scifi_magical_tale/> and are written to hold the readers' interest and not be skipped in reading.<ref name=grrm_iv_sfsite2/> Main characters are killed off so that the reader will not rely on the hero to come through unscathed and will instead feel the character's fear with each page turn.<ref name=ew_by_george/>

The unresolved larger narrative arc encourages speculation about future story events.<ref name=newyorker/> According to Martin, much of the key to ''A Song of Ice and Fire''{{'s}} future lies over a dozen<!--the source's "sixteen" refers only to ADOS--> years in the fictional past, of which each volume reveals more.<ref name=grrm_iv_januarymagazine/> Events planned from the beginning are foreshadowed, although Martin is careful not to make the story predictable.<ref name=io9_gods/> The viewpoint characters, who serve as [[unreliable narrator]]s,<ref name=atlantic_sex_fantasy/> may clarify or provide different perspectives on past events.<ref name=atlantic_true_blood/> Therefore, what the readers believe to be true may not necessarily be true.<ref name=grrm_iv_januarymagazine/>

===Character development===
{{main|List of A Song of Ice and Fire characters}}
Regarding the characters as the heart of the story,<ref name=grmm_iv_scotcampus /> Martin planned the epic ''A Song of Ice and Fire'' to have a large cast of characters and many different settings from the beginning.<ref name=atlantic_sex_fantasy /> ''A Feast for Crows'' has a 63-page list of characters,<ref name=nytimes_vile_hobbits /> with many of the thousands of characters mentioned only in passing<ref name=newyorker /> or disappearing from view for long stretches.<ref name=washingtonpost_worth_wait /> When Martin adds a new family to the ever-growing number of [[genealogies]] in the appendices, he devises a secret about the personality or fate of the family members. However, their backstory remains subject to change until written down in the story.<ref name=grrm_iv_consumerhelpweb /> Martin drew most character inspiration from history (without directly translating historical figures)<ref name=grrm_iv_januarymagazine /> and his own experiences, but also from the manners of his friends, acquaintances, and people of public interest.<ref name=fantasyonline /> Martin aims to "make my characters real and to make them human, characters who have good and bad, noble and selfish well-mixed in their natures".<ref name=scifi_magical_tale /> Jeff VanderMeer of the ''[[Los Angeles Times]]'' remarked that "Martin's devotion to fully inhabiting his characters, for better or worse, creates the unstoppable momentum in his novels and contains an implied criticism of Tolkien's moral simplicity"<ref name=latimes_adwdreview /> (see [[Themes in A Song of Ice and Fire#Moral ambiguity|Themes: Moral ambiguity]]).

Martin deliberately ignored the writing rule of never giving two characters names starting with the same letter.<ref name=grrm_iv_consumerhelpweb/> Instead, character names reflect the naming systems in various European family histories, where particular names were associated with specific [[royal houses]] and where even the secondary families assigned the same names repeatedly.<ref name=grrm_iv_consumerhelpweb/> The story of ''A Song of Ice and Fire'' therefore has children called "Robert" in honor of King Robert of House Baratheon, a "Brandon" in every other generation of the Starks in commemoration of Brandon the Builder (of the Wall), and the syllable "Ty" commonly occurring in given names of House Lannister.<ref name=tiff1/> Confident that readers would pay attention, Martin distinguished people sharing a [[given name]]<ref name=grrm_iv_consumerhelpweb/> by adding numbers or locations to their given names (e.g. [[Henry V of England]]). The family names were designed in association with ethnic groups (see [[World of A Song of Ice and Fire#Background|backstory]]): the First Men in the North of Westeros had very simply descriptive names like Stark and Strong, whereas the descendants of the Andal invaders in the South have more elaborate, undescriptive house names like Lannister or Arryn, and the Targaryens (being Valyrians from the Eastern continent), have the most exotic names with the letter Y.<ref name=tiff1/>

All characters are designed to speak with their own internal voices to capture their views of the world.<ref name=scifi_magical_tale/> ''The Atlantic'' pondered whether Martin ultimately intended the readers to sympathize with characters on both sides of the Lannister–Stark feud long before plot developments force them to make their emotional choices.<ref name=atlantic_reality/> Contrary to most conventional epic fantasies, the characters of ''A Song of Ice and Fire'' are vulnerable so that, according to ''The Atlantic'', the reader "cannot be sure that good shall triumph, which makes those instances where it does all the more exulting."<ref name=atlantic_brutal/> Martin gets emotionally involved in the characters' lives during writing, which makes the chapters with dreadful events sometimes very difficult to write.<ref name=scifi_magical_tale/> Seeing the world through the characters' eyes requires a certain amount of empathy with them, including the villains,<ref name=deepmagic41/> all of whom he has said he loves as if they were his own children.<ref name=grrm_iv_sfsite2/><ref name=grmm_iv_scotcampus/> Martin found that some characters had minds of their own and took his writing in different directions. He returns to the intended story if it does not work out, but these detours sometimes prove more rewarding for him.<ref name=grrm_iv_consumerhelpweb/>

Arya Stark, Tyrion Lannister, Jon Snow, and Daenerys Targaryen generate the most feedback from readers.<ref name=grmm_iv_cc/> They are also four of the "big six" main characters of the series, according to Martin (the other two being Sansa Stark and Bran Stark). Martin has stated that Tyrion is his personal favorite, as the grayest of the gray characters, with his cunning and wit making him the most fun to write.<ref name=grrm_iv_sfsite2/> Martin has also said that Bran Stark is the hardest character to write. As the character most deeply involved in magic, Bran's story needs to be handled carefully within the supernatural aspects of the books. Bran is also the youngest viewpoint character,<ref name=scifi_magical_tale/> and has to deal with the series' adult themes like grief, loneliness, and anger.<ref name=time_grrm_ivp1/> Martin set out to have the young characters grow up faster between chapters, but, as it was implausible for a character to take two months to respond, a finished book represents very little time passed. Martin hoped the planned five-year break would ease the situation and age the children to almost adults in terms of the Seven Kingdoms, but he later dropped the five-year gap (see section [[#Bridging the timeline gap|Bridging the timeline gap]]).<ref name=grmm_iv_ew/><ref name=scifi_magical_tale/>