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A boy is Westeros is considered to be a “man grown” at sixteen years. The same is true for girls. Sixteen is the age of legal majority, as twenty-one is for us.
However, for girls, the first flowering is also very significant… and in older traditions, a girl who has flowered is a woman, fit for both wedding and bedding.
A girl who has flowered, but not yet attained her sixteenth name day, is in a somewhat ambigious position: part child, part woman. A “maid,” in other words. Fertile but innocent, beloved of the singers.
In the “general Westerosi view,” well, girls may well be wed before their first flowerings, for political reasons, but it would considered perverse to bed them. And such early weddings, even without sex, remain rare. Generally weddings are postponed until the bride has passed from girlhood to maidenhood.
Maidens may be wedded and bedded… however, even there, many husbands will wait until the bride is fifteen or sixteen before sleeping with them. Very young mothers tend to have significantly higher rates of death in childbirth, which the maesters will have noted.
As in the real Middle Ages, highborn girls tend to flower significantly earlier than those of lower birth. Probably a matter of nutrition. As a result, they also tend to marry earlier, and to bear children earlier.
There are plenty of exceptions.
George R. R. Martin on the age of maturity/consent in Westeros (via ivanolix)
The way I see it, it is not a case of all or nothing. No single person is to blame for Ned’s downfall. Sansa played a role, certainly, but it would be unfair to put all the blame on her. But it would also be unfair to exonerate her. She was not privy to all of Ned’s plans regarding Stannis, the gold cloaks, etc… but she knew more than just that her father planned to spirit her and Arya away from King’s Landing. She knew when they were to leave, on what ship, how many men would be in their escort, who would have the command, where Arya was that morning, etc… all of which was useful to Cersei in planning and timing her move.
Ned’s talk with Littlefinger was certainly a turning point, though I am not sure I would call it =the= turning point. There were other crucial decisions that could easily have changed all had they gone differently. You mention Ned’s refusal of Renly, which was equally critical. And there is Varys to consider, as well as the minor but crucial player everyone forgets — Janos Slynt, who might have chosen just to do his duty instead of selling the gold cloaks to the highest bidder.
So… all in all, I suppose my answer would be that there is no single villain in the piece who caused it all, but rather a good half dozen players whose actions were all in part responsible for what happened.

George R. R. Martin about who got Ned killed. (via ivanolix)

The word of god, ladies and gentlemen.

bronzedragon:

got-confessions:

“Despite being a fan of the series I don’t understand fans who worship George R. R. Martin. I do love the story told in the books, but the actual writing technique has always been very bland.”

I love the fact that this confession and all of its commentary can exist in this fandom without drawing loads and loads of hate.

I value building a coherent world and characters I care about more than writing style. I’d rather read a good story with characters I care about than I do about having a unique writing style or beautifully expressive language. (I also agree that AFFC and particularly ADWD faltered, but I do agree that was probably for lack of good editing and because of the decision to make that split by POV instead of chronologically.) I can forgive an occasional “the sight of their arousal was arousing” because I care more about the characters and having a story and characters that are deep enough to inspire endless debate and interesting meta than I do about the technique.

I give Martin a lot of credit for the foreshadowing, and the intricate construction of plots, and the levels of depth of his characters. But I don’t worship any writer: again, my theme of the day is apparently “Everyone and everything is imperfect, and everything should be open to criticism.” Even my favorite writers are not gods. They are capable of making mistakes, even in books I love.

I think sissyhiyah also has some great commentary, and I’ve excerpted my favorite bits here:

sissyhiyah:

His books aren’t meant to be read.  I think that’s the trick to reading GRRM.  You can’t read him like anyone else.  It’s a matter of transference and a willingness to sacrifice archetypes for the story….

 You find a character that hits you in a certain spot, and for a while, you become enough of a player in his world to care about the rest.  This is tribal in a way, and you don’t care about dialogue or imagery or the prose itself because you’re very much a part of a particular world.  

And that world requires a blood sacrifice.  If you don’t get into it, then you miss something.  You’re either in Westeros or you’re not.  If you’re not, you notice things like the writing.  You miss…something that way.  You’ve not bled yet. 

I think it’s his writing that inspires that, no matter how bland or tedious some might find it.  He’s able to hit some part of our souls that makes us want to rage on someone with a tire iron for daring to say anything against our people.  His talent isn’t writing.  His talent is getting people to care.