George RR Martin a donné une interview à des fans (television zombies
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) qui est assez intéressante, sur ses difficultés à écrire dance with dragons et son écriture de l'épisode 8 de la future série HBO.Je vous mets la retranscription ici, vous pouvez la lire sans risque, elle ne contient aucun spoiler.
GRR Martin a écrit :(sur le fameux "noeud de Meeren")I think I’m close. I think I have one more thread to slash. We’ll see if it all falls into place when it’s done here. But, yeah, I’ve resolved most of it, at least I think so– knock wood. I’ve thought a half-dozen times I’d resolved it, and then I’d reread it a couple weeks later and say, no, this isn’t… no, it would be better this way. I’d start redoing it all over again.[Q: Is it about the timelines or something else?]Well, I can’t discuss the specifics without giving away enormous spoilers. But, yes, in very broad outline, the chronology is part of it. It’s like, you know, four or five viewpoint characters, I don’t even remember how many, are coming together in the city of Meereen, and there are various dramatic events and happenings that are happening in Meereen, you know. I can’t discuss specifics, but it’s a question of– okay, who should get there first? Well, who left first? How are they traveling? What are they encountering along the way? That determines who gets there first. But then there’s also dramatic questions about which is the correct order– if this guy gets there first, this guy gets there first– but then if this guy gets there first, then that would make this happen, this event should come before that event, but it’s more dramatic if that event comes before this event, and what about the other event… you know, it’s… [laughter] It’s frustrating even talking about it.When the book comes out, people may read it and say “What the hell was the problem?” The reality of a writer’s life is, you work on these things, especially as long as I’ve been working on this book, and you get to a point where you’re not sure if you’re seeing the forest for the trees. You’re obsessing over these small details, and you’re trying to get everything not just good, but great, and you’re rewriting and you’re changing things and reordering things and restructuring things, and there comes a point where you say “Am I really improving it here, or am I just spinning my wheels and going round and round in a circle?”[Q: Do you ask other writers for feedback?]I have friends who read this and that and the other thing, but ultimately I rely on myself. I have to be the final judge of this. It’s gonna be my name on the book. If it comes out and it’s bad, I can’t say “Oh, my friend told me to do it that way.” So I’m determined to try to get it as good as it can possibly be, and how good that is… of course the Tuesday me and the Thursday me don’t necessarily always agree.[Q: Writing an episode of GOT for TV, what's it like to revisit your characters from such an earlier point in the story?]It was actually fun. I was worried about… it’s been quite a while since I’ve written a screenplay or teleplay, so– “My God, will I still remember how to do it?” But it turned out to be like riding a bicycle, as they say– which I’ve always found ironic, since I’ve never been able to ride a bicycle. [laughter] I keep falling off, but never mind. Anyway, I did remember how to write a screenplay, a teleplay rather, and once I got into it, it all came back. The hardest part was actually accustoming myself to the new software, because there are these scriptwriting programs, and at the time that I was working in Hollywood there were these certain ones that everybody was using, and now of course nobody uses those any more, they’ve got whole new ones, so I had to reaccustom myself to new software, which has some nice features and some things I didn’t like. But once I did that, the writing went pretty easily, and it was great to revisit these characters and scenes again. So… the episode I wrote for the show is episode 8, which it’s ten episodes in the first season, and it’s titled “The Pointy End.