Search the most comprehensive database of interviews and book signings from Robert Jordan, Brandon Sanderson and the rest of Team Jordan.
2012-04-30: I had the great pleasure of speaking with Harriet McDougal Rigney about her life. She's an amazing talent and person and it will take you less than an hour to agree.
2012-04-24: Some thoughts I had during JordanCon4 and the upcoming conclusion of "The Wheel of Time."
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Oct 19th, 2010
I have gotten very good at this over the years. For instance, during many years I would be working on something like one of the Mistborn books alongside one of the Alcatraz books. If you read those two, the tones are extremely different. One of the ways I keep things separate is that I generally only write new material for one project at a time. I can edit and revise one project, by taking what it needs to be and making it better, at the same time as I write new material for another project. One of the things you should keep in mind is that when I'm writing Wheel of Time books, the struggle is always—even if I'm not working on something else at the same time—to make sure that I'm remaining true to Robert Jordan's vision of the characters rather than interpreting them myself. Which means that when it comes time to write a scene from a character's viewpoint, before I write anything that day I generally read a chapter of Robert Jordan's work from that character's viewpoint, and I try to ingrain that in my head and get a resonance going, so that when I sit down to write I can keep the character's voice straight.
Your question is a little bit like asking an artist, "How can you paint an impressionist painting one day, and then switch to realism the next day?" Well, they're slightly different arts. Each expresses a painting in its own unique way, and it's just what you do as an artist. It's the same difficulty a writer has jumping between characters in a single book. How do I write Shallan in The Way of Kings and then jump and write Kaladin, and keep them from sounding like one another? It's something you have to learn to do as a writer. Otherwise, your character voices will all blend together.
Actually, the balance is rather similar, because of the way I developed the books. Half of the prologue scenes that Robert Jordan worked on ended up in The Gathering Storm; half ended up in Towers of Midnight. I'd say a third of the other material he worked on ended up in The Gathering Storm, and a third ended up in Towers of Midnight. In both cases I've had one character's plotline at the core of the book that was very well plotted out and worked on by Robert Jordan, and one plotline that to a greater extent I've had to add to of myself. That's been the same in both books.
Working on A Memory of Light is going to be a different experience, because the greater amount of what Robert Jordan worked on is weighted toward the end of the book rather than all along one character viewpoint. But there will still be a lot of it there, and in that case I'm writing toward it. You have to remember that the way I write these books often is to take a viewpoint cluster, a group of characters, and write them through from the beginning of the book to the end of the book. Which means that I've already, even in The Gathering Storm, had to work on viewpoint lines for which there was less from Robert Jordan to use. So it's been the same experience—it's really divided by plotlines.
A few early reviewers have noticed that there is a spoiler in the glossary. There are always little spoilers in the glossary, so that's nothing new. But in this case, it's really best not to read the glossary until you've finished the book.