The contents of The Histories of The Lord Commanders of the Kingsguard are accurate to the show canon and hand crafted by artist Michael Eaton.
Bryan Cogman began working as an assistant for David Benioff and Dan Weiss several years before Game of Thrones was greenlit. With his encyclopedic knowledge of the show, Bryan acts as the keeper of the Game of Thrones bible, offering insight into the backstory and characters when needed. Bryan has written episodes, worked as story editor, and is now co-producer.
C. A. TAYLOR: You are actively involved in adapting the story from the books to the screen, starting with creating the season outline. How do you approach such a massive task?
BRYAN COGMAN (CO-PRODUCER AND WRITER): For seasons one and two, when we were doing a book a season, I would sit down and summarize each chapter beat by beat and create documents outlining the various character arcs in the book. In later seasons, that changed into me summarizing chapters from various books. After we all digest the book material, David and Dan assign each of the writers a few characters. So I wrote out an outline of Arya’s season three—adapting book scenes and coming up with some of my own. Now, 80 percent of this stuff might not ever make the show, but it gives us a starting point. Then, between seasons, we meet in the writer’s room for a few weeks, read each other’s first outlines, merge them together, throw stuff out, come up with new stuff, and put the main beats up on a board—a rough season emerges from that. From there, we collaborate on a polished and detailed outline on the season, which David and Dan eventually take over and finish up. After this, scripts are assigned and written.
CT: Is there a particular line or scene that you wish you had written?
BC: Yes, it’s a scene that I’m credited with writing! Yoren’s monologue to Arya in “What Is Dead May Never Die” [season two, Episode 203], in which he relates the story of killing his brother’s murderer before joining the Night’s Watch and plants the idea in Arya’s head of reciting a “vengeance prayer” each night of people she wants to kill. Fantastic piece of writing, penned late in pre-production by David and Dan and included in my episode. So I’m credited with writing it, but I didn’t. And, of course, it’s the best scene in the bloody episode.
CT: Do you have a favorite character?
BC: My favorite is Jaime. I find his arc so fascinating—watch the Jaime of the first episode and compare him to the Jaime of the finale of season four. It’s an astonishing transformation. Jaime’s story going forward, for me, is summed up in a line from “Oathkeeper” [season 4, Episode 404]. He’s showing Brienne the White Book, where all the glorious deeds of Kingsguards past and present are recorded. Entries for other knights are full of heroics, but his small entry: shame and ignominy. He says to Brienne: “It’s the duty of the Lord Commander to fill these pages. And there’s still room left on mine.”
Jaime Lannister reviews his limited accomplishments in the White Book.
CT: Do you have a particular line or speech that is your favorite?
BC: There’s an absolutely gorgeous scene between Theon Greyjoy and Maester Luwin at the close of season two [“Valar Morghulis,” Episode 210], the highlight of which is Theon’s tortured memory—beautifully acted by Alfie Allen—of being raised as a hostage: “You know what it’s like to be told how lucky you are to be someone’s prisoner? To be told how much you owe them?” I don’t know if it’s my favorite, but it’s a great example of the empathy the show has for its most despicable characters, and Theon had been pretty despicable up to that point.
CT: Part of your role is to be on set to observe filming and advise the director when needed. Do you have a favorite moment from season four?
BC: There was one day on set I found pretty thrilling. Again, it was a “small” character moment, but that’s where I think the show lives. It’s a scene from the seventh episode of the season [“Mockingbird,” Episode 407], where Littlefinger finally gives in to his desires and kisses Sansa in the snowy garden of the Eyrie. It’s a hugely disturbing scene—mainly due to Sansa’s reaction to the kiss . . .
