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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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Elaida wasn't a Sitter when she led the arrest of Siuan, but she had organized it, managed to arrange for a rump Hall of the Tower to vote on deposing Siuan and raising her in Siuan's place. By the time Siuan was arrested, Elaida was the "legal" Amrylin Seat, so of course she was leading the Sitters.
As for her change of heart of the Black Ajah, she bounces on whether or not she believes in their existence. When she has convinced herself that they do exist, she is vehement on the subject, but uneasy over Darkfriend sisters, and so manages to convince herself that she was mistaken, whereupon she becomes vehement about their non-existence. But then she becomes uneasy over the possibility that they do exist after all and convinces herself that they really do after all, whereupon.... I have even had a character in the White Tower comment that sometimes Elaida doesn't seem to know from one day to the next whether or not she believes in the Black Ajah.
CORRECTION: Answering these questions, I have always taken the assumption that I knew the books well enough that I did not need to refer to my notes. My answer for the Week 20 Question showed that I was mistaken. I said that Elaida was never a Sitter, but no sooner was that answer posted than my assistant Maria, who also is a fan, came to me with the relevant passage where Elaida is mentioned as a Sitter. I went to my notes, and after a lot of checking, I found the following in a file working out exactly how some points were to be structured and making sure that I had all the details covered. Somehow, I had never incorporated it into the base notes, perhaps because it seemed such a small matter, Elaida having been a Sitter for such a short time and then only as prelude to replacing Siuan and Amyrlin.
“Returning to the White Tower, Elaida quickly became convinced that Siuan and Moiraine were engaged in a scheme that involved Rand al’Thor. Indeed, she had suspicions of this before departing Caemlyn for Tar Valon. Moiraine’s presence in Tar Valon had not escaped her, nor that Moiraine had been seen with Rand. If, as seemed the more likely, he was simply a man who could channel who Siuan and Moiraine intended to make use of as a false Dragon, then it was a scheme that was extremely dangerous to the Tower. Revelation of such involvement could easily shatter the Tower’s prestige, and with it the influence that was the primary cornerstone of the Tower’s influence in the world. And if he was indeed the Dragon Reborn, Elaida certainly had no confidence in Siuan’s ability to handle the him, as surely the Dragon Reborn would need to be handled, guided and directed, not to mention controlled. Helped by her long-standing personal animosity toward Siuan and Moiraine, Elaida came to the conclusion that Siuan must be removed for the good of the Tower. This was not something that could be accomplished by an ordinary sister, however the stepping down of a Red Sitter (Amira Moselle) gave her an opening, and she managed to get herself chosen as Amira’s replacement in the Hall of the Tower.
In large part this was because of Galina Casban’s support as head of the Red Ajah, Galina having her own reasons to take any chance to pull Siuan down and, of course, favoring anything that would give the Amyrlin Seat to the Red Ajah again after so long. Galina made no attempt to attain the Amyrlin Seat herself because she knew she had little or no chance of being raised. Elaida, who had been so long away from Tar Valon and thus remained out of the political currents of the Tower, not to mention the favorable mention she had received for her guidance of Queen Morgase and Andor, was another matter.
Once Elaida had a chair in the Hall, it was a relatively simple matter to identify the Sitters who seemed most likely to stand for deposing Siuan, since a number of Sitters were uneasy at best about what Siuan was up to. Her support in the Hall had eroded sufficiently by The Great Hunt that she had opposition to her journey to Shienar. As a Sitter, Elaida was able to call a sitting of the Hall while making sure that only the Sitters she wanted to attend actually received notification. Elaida is a forceful and effective speaker, and her arguments to this bare quorum in favor of deposing Siuan were also her campaign for being raised to the Amyrlin Seat herself, so the vote to depose Siuan was followed immediately by the vote to make Elaida the new Amyrlin. She did not expect the violent reaction that would come from this. She had not had access to the secret histories for very long at this point, so her view was that of most sisters. The Tower had always acceded to the will of the Hall however sisters might grumble. Like many others, she was blind-sided by what she thought she knew.”
So there it is. I offer my apologies for giving an erroneous answer. From now on, I’ll be sure to check my notes.
I can’t find anything to clarify this, either. I will just offer up anecdote: I have been reading WoT for 22 years, and went to work for its creator over 17 years ago. I could be said to live and breathe The Wheel of Time. But Terez has taught me much about WoT. It could be a TEOTWism, or Lan could have been thinking of some very specific things that Elyas shared that he found helpful.
I thought about asking how Elyas could teach Lan anything about the sword, too, but I figured the Blight bit was the most incredible. TEOTWism: this was stolen from the fandom for Steven Erikson's Malazan Book of the Fallen series. The first book of that series is called Gardens of the Moon, and in that fandom, details that are particular to the first book—details that cause continuity issues later in the series—are referred to as GOTMisms.
(later) I don't know.
I've noticed here and there that some of you have caught errors—sometimes mine, sometimes printers' errors—and commented on them. When you do that, would you please give the chapter where you found the error and also the edition—American, British, hardcover, trade paperback etc—as well as the title, and the printing if you can. You can find the printing number on the same page with the copyright notice. In the American editions, there will be a line of numbers at the bottom of that page, something like this:
15 14 13 12 11 10 9 8 7
The last number in that line on the right is the number of that book's printing.
In the British editions, the entire printing history is given on the copyright page, a list of which years reprints occurred and how many times during that year.
That helps me to find where the error is located, if there is one. For example, somebody said that he or she found Verin channeling saidin in Lord of Chaos. Check as I can, I cannot find that anywhere in the book, and neither can my assistant Maria. Maybe it is there, but I can't find it.
I have to be honest. I'm not Mr. Jordan. He's the master, and I'm just a journeyman. He's one of the greatest fantasy authors the genre has ever known. I can't hope to write with his skill and power at this stage in my career—and I think there are very, very few writers who could.
Fortunately, I don't have to do this on my own. I have seen the notes, as I mentioned above, and I find them very reassuring. Let me put forth a metaphor for you.
Pretend you have purchased an expensive violin from a master craftsman. It probably wouldn't surprise you to discover that one of the craftsman's apprentices helped create that violin. The master may have had the apprentice sand, or apply varnish, or perhaps shape some of the less important pieces of wood. In fact, if you looked at the violin before master craftsman handed it off to his apprentice, it might just look like a pile of wood to you, and not an instrument at all.
However, the master craftsman did the most important parts. He shaped the heart of the violin, crafting the pieces which would produce the beautiful sound. He came up with the design for the violin, as well as the procedures and processes used in creating his violins. It's not surprising that some other hands were involved in the busywork of following those procedures and designs, once the most important work was done. And so, even though the apprentice helped, the violin can proudly bear the master's signature and stamp.
It's the same with this book. What I've been given may not look like a novel to you, but it excites me because I can see the book Mr. Jordan was creating. All of the important chunks are there in such detail that I feel like I've read the completed novel, and not just an outline. Yes, there is still quite a bit of work to be done. Many of the less important scenes are there only as a framework of a few sentences. However, Mr. Jordan left behind the design of this book. I am convinced that between myself, his wife (who was his editor), and his assistants, we can complete this book to be very, very close to the way he would have done.
As you might have noticed, things have been a tad dead here this week. That's because I've been out here in Charleston visiting Robert Jordan's house. Harriet, Alan, Maria, and I have been working on things for Book Twelve, and there was also a panel at The Citadel (where Mr. Jordan went to college) about Mr. Jordan and his effect on the fantasy genre. Harriet wanted me to be part of it, and I was very happy to do so. (David Drake also flew in to sit on the panel. I know it was video taped; I don't know if it will get posted anywhere. If it does, I'll try to get a link up here for you all.)
Regardless, it's been a busy few days. I flew out on Monday and have to be back on Thursday to teach my class. However, we've put our time to very good use, working out the outline for Book Twelve. (There were some holes in the plot and questions about characters we needed to work through.) Maria put it best with some of these holes: It's like we're putting together a jigsaw. We need to sift through Mr. Jordan's notes and figure out what he wanted to have happen, then figure out the best way to make it happen.
This, of course, is only for the sections that are more ambiguous. We're doing our best to make certain this book has as much of Mr. Jordan in it as possible.
Family, friends and fans of fantasy gathered at The Citadel on Tuesday 8 April 2008 to dedicate a permanent memorial to my brother/cousin, James Oliver Rigney, Jr. This was a celebration of Jim's life and his work. I would be lying were I to tell you I was looking forward to the event. We had assembled only a few weeks earlier at the Citadel to induct Jim into the South Carolina Author's Hall of Fame. That evening had propelled me back to the awful moments in September when we lost Jim. Both Harriet and I were in dread of the same happening yet again. It didn't. Rather the opposite.
Harriet had told us all, Onward, still she and I (and I'm sure the rest of the family) were mired in that part of grieving that causes us to hang on, denial. Only a day before, Harriet had rolled up her sleeves and dove headlong into the first chapter of A Memory of Light. She, Jim's loyal staff and Brandon were hard at work on the book. She called me to share that and her excitement was obvious. She sounded like a new woman. Harriet told me that she finally knew that Jim wasn't coming back. That doesn't mean that she doesn't still hurt. The hurt will never totally subside, but now it doesn't interfere with going "onward". Indeed it helps to maintain purpose and focus.
I teased you before with A Memory of Light. You all know the timing, and that hasn't changed. But as I listened in on the exchange between Harriet, Maria (a walking dictionary of the books), Alan and Brandon, I couldn't help but get even more excited. You all know that Jim told me in great detail, the bones of the book and very vividly described the last scene. Still, listening to the team working collectively on the minute details, hearing the excitement in their voices, feeling the electricity in the room made me want to stay till we were done. I lingered for a moment before leaving watching them sitting around the dining room table where we had shared so many meals, stories and good times. As with most families, our family members have assumed places at the table where we normally sit. I smiled when it struck me that sitting in Jim's place was the man tapped to finish Jim's work, Brandon. I'm sure Jim was smiling too. Onward!
4th of 3
I'm making progress on these A Memory of Light edits, slowly but surely. It's a lot more time-consuming than other books I've edited for several reasons. First off, I've got a lot of input coming in from Charleston. I receive feedback on every chapter not just from Harriet, but from Alan and Maria as well. It's all very good advice, but it's like juggling three editors on the same project, each with different specialties. The sheer organization of it all can be daunting sometimes.
Recently—today and yesterday—I spent producing some new material for the first time in a while. One of the issues with revisions like this is that sometimes, Harriet and the others point out holes in the story which require new scenes to patch properly. As such, I've been 'spot writing' so to speak, crafting new scenes. Some are holes I knew were there and intended to patch, others were holes I left thinking that they would be all right—that readers would make the leap from one scene to another without the bridge scene. In one case, it's a scene I hadn't realized everyone would want to see, but they really do, so I've started work on it. I expect this to continue for the next few days, so you might see the main "A Memory of Light" progress bar inch up a few points. It's at 110% right now. (Which means 440k of completed manuscript, not counting some scenes that Mr. Jordan worked on that haven't yet happened in the chronology.)
The basic estimate for the final length remains the same as it has since about last summer. 750k words. I'll let you know if I think that needs to be revised, but I really won't be able to guess until I've completed more of the manuscript. As I've warned, also, keep an eye on Dragonmount and Tor.com for official announcements related to the Wheel of Time. I'd guess that something will pop up in the next several weeks.
All right, now that the press release is out, let's talk about some things. I like to be transparent with my readers, whenever possible, and I feel it's time to let you in more fully on what has been happening this last year.
Pull up a chair. Get some hot cocoa. This is going to take a while. I'm a fantasy author. We have trouble with the concept of brevity.
In order to explain to you how this book came to be split as it did, I want to step you through some events of the last sixteen months. That way, you can see what led us up to making the decisions we did. You might still disagree with those decisions (many of you will.) But at least you'll understand the rationale behind them.
Before we start, however, let me explain that I only saw one piece of what was going on. As I've stated before, Harriet and Tom are the ones making decisions when it comes to publication issues. I've deferred to them. My input has by no means been ignored, but often I was so focused on the book that I didn't have the time or energy to do more than say "Harriet, I trust your decision. Go with what you feel is best." Therefore, some of what I say may be distorted through my own lens. I don't have the whole story, but I think I've got most of it.
Let's hop back to November of 2007. That's the month where I'd discovered for certain that I'd be the one finishing THE WHEEL OF TIME. I was excited, nervous, and daunted all at the same time—but today's blog post isn't about that aspect of the experience. Perhaps I'll have a chance to write more about it later.
The first discussion of length came in late November, early December during the contract negotiations for A Memory of Light. I say negotiations, though those 'negotiations' were really nothing more than Harriet's agents saying "Here's what we offer." And me saying to my agent "Sounds good. Say yes." I wasn't about to let the chance to work on this book slip away.
The contract stipulated that I was to provide a completed work which (including Mr. Jordan's written sections) was to be at least 200,000 words long. This sort of length provision isn't uncommon in contracts; it's there to make certain neither author nor publisher are surprised by the other's expectations. It's generally a ballpark figure, very flexible. I hadn't seen any of the materials for A Memory of Light at that point, so I essentially signed blind, saying yes to produce something "At least 200,000 words" in length.
I'm not sure what Harriet was expecting at that point for length. She was still coping with Mr. Jordan's death, and was focused on finding someone to complete A Memory of Light so that she could rest easier, knowing that it was being worked on. Remember, this was just months after Mr. Jordan passed away. I honestly don't think she was thinking about length or—really—anything other than making certain the book was in the right hands. She left it to my decision how to proceed once I was given the materials.
Around January or February, I posted on my blog that I was shooting for a 200k minimum. This surprised a lot of people, as 200k would not only have made A Memory of Light the shortest Wheel of Time book other than the prequel, it seemed a very small space in which to tie up the huge number of loose ends in the book. I wasn't focused on that at the moment; I was just passing along my thoughts on a minimum length. I think that I, at the time, hoped that we could do the book in around 250k. That was naive of me, but I honestly didn't want to drag this on for years and years. I wanted to get the readers the book they'd been waiting for as soon as possible.
At that point, I started reading through the series again. I did this with the notes and materials for the final book at hand, taking notes myself of what plotlines needed to be closed, which viewpoints needed resolution. The read-through took me until March of 2008. As I progressed through the series, I began to grasp the daunting nature of this book. How much there was to do, how many plotlines needed to be brought back together, the WEIGHT of it all was enormous.
April 2008. I had to make a decision. I realized that the book would be impossible to do in 200k. I'd begun to say on my blog that it would be at least 400k, but even that seemed a stretch. I looked over the outlines, both mine and Mr. Jordan's. I stared at them for a long time, thinking about the book. And this is where the first decision came in. Did I try to cram it into 400k? Or did I let it burgeon larger?
To get this into one book, I'd need to railroad the story from climax to climax. I'd have to ignore a lot of the smaller characters—and even some aspects of the larger characters. I just couldn't justify that. It wouldn't do the story justice. I cringed to consider what I would have to cut or ignore.
Perhaps I was wrong. Perhaps readers would have preferred a single, condensed volume so that they at least knew what happened. But I just couldn't do it. The Wheel of Time deserved better.
This was not an easy choice. I knew it would anger some readers. I knew it would take a lot of time, and I would end up dedicating a great deal more of my life (and my family's life) to the Wheel of Time than I'd initially anticipated. At the very least, I was contemplating writing a book three to four times the length of the initial contract—essentially, doing four times the work for the exact same pay.
But this had never been about the pay for me. I'd been put in charge of this project. I wanted to do what I felt Mr. Jordan would have done. I felt, and feel, a debt to him for what he did with this series. He had promised readers a big, big book—not big for big's sake, but big because there was so much to do, so much to tie up. I decided that I would do whatever the story demanded, no matter how many words it would require, no matter how mad it made people. I would not artificially inflate the book—but I would treat each character, even the minor characters, with care and consideration.
I flew to Charleston that month and outlined my feelings on the various outlines for the different characters. The Charleston camp was cautiously enthusiastic; I don't know if they realized just how much work this would all take. I'm not sure if I even told them how many words I was starting to feel it would be. At this point, Harriet was pretty much letting me call the shots when it came to the actual drafting of the novel. Harriet is an editor; she works best when I provide material to her, then she works her magic to turn it from good to excellent. That meant I was in charge of getting material to her as I saw fit, then she would tell me if I was on target or needed to try again.
I had already set the progress bar at 400k words on my website. I started writing in earnest, and also started warning people that the book was likely going to run longer than my initial estimate. Perhaps much longer. Soon, I was saying 750k.
By this point, I'd already warned Tom and Harriet that I saw the length being very large, but I hadn't told Tom the 700-800k number. When I'd mentioned 400k to him once, he'd been wary. He explained to me that he felt 400k was unprintably large in today's publishing market. Things have changed since the 90's, and booksellers are increasingly frustrated with the fantasy genre, which tends to take up a lot of shelf space with very few books. There is constant pressure from the big chain bookstores to keep things smaller and thinner. When I'd turned in Mistborn 2 (revised and already trimmed) at 250k, production and marketing had nearly had a fit, complaining that the book would cost more to print than it would make. Tom approved the publication of the book anyway. (And fortunately we managed to fit it into enough pages—and sell enough copies—that it was still profitable.)
Anyway, Tom implied that 400k was what he saw as a cut off for length. Anything 300-350 could be one book, anything over 350 should be cut. (That's me guessing on things he said; he never gave those hardfast numbers, and I know there was probably some flexibility.) Anyway, Tom—like Harriet—wanted to wait and see what I was able to produce first. At this point, it was too early to begin talk of cutting the book. I'd barely written any of it.
I wrote all summer, and the next point of interest comes at Worldcon. Tom and I were on a panel together, talking about A Memory of Light. I noted that (by that point) I had around 250k written. He said something like "Ah, so you're almost done!" I looked chagrined and said "Actually, I feel that I'm only about 1/3 of the way there, Tom." He blinked, shocked, and then laughed a full bellied laugh. "It's happening again!" he exclaimed. "Jim sold me one book that somehow became three, and now it's happening again!"
Well, that was the first hint I had that this might be three books instead of two. I started to lobby Harriet subtly, pointing out that previous Wheel of Time books had been 380k, and perhaps that would be a good length for each Volume of A Memory of Light, if it was cut. I also indicated that I felt it would be really nice to keep volumes of the book published close together if, indeed, the book had to be split.
What I didn't realize was just how taxing this process was going to be. There's only so much one person can write in a year. Before working on A Memory of Light, my average wordcount for a year was around 300k. One 200k epic fantasy, then 50-100k on other projects. During 2008 I wrote over 400k—fully a third more than usual, and that was done with three months of my working time spent re-reading and taking notes on the Wheel of Time series. (Yes, it was easier because of materials left by Mr. Jordan. However, that was offset by the need to become an expert on thousands of characters, places, themes, and worldbuilding elements. All in all, even with outlines, notes, and written materials Mr. Jordan left, I'd say this was the most difficult 400k I've ever written.)
By December, after my book tour, I was pushing hard to even get 400k done. I still had this phantom hope that somehow, I'd be able to spend January, February, and March writing harder than I'd ever written before and somehow get to 750k by the March deadline that Tom had said was about the latest he could put a book into production and still have it out for the holidays.
In January, Tom called Harriet and they talked. At this point, I'd hit my 400k goal, and I knew that I was only about halfway done. (If even that far along.) Very little of that 400k had been revised or drafted. Tom and Harriet chatted, and several things came up. One of the most dominating points was this: it had been four years since the fans had been given Knife of Dreams. Tom felt that we NEEDED to provide them a book in 2009. They couldn't wait until I finished the entire volume to publish something.
Harriet called me and I finally agreed that I needed to stop work on writing new material. It was time to begin revising. That was, essentially, the decision to split the book. And I wasn't certain that we could simply print the 400k that I had written. There were scenes all over the place, and if we printed that portion as-is, it would cut off right in the middle of several plot arcs. The book just wouldn't be any fun to read. Beyond that, editing 400k would take too much time to have it done by April.
This is the second big decision. Perhaps you would have chosen differently. But let me outline the options as I see them. Pretend you're Tom Doherty or Harriet in January 2009, making the call on how to publish the book.
1) You can decide not to print anything until the entire novel is finished. That means letting Brandon write until the end, then revising the entire thing at once, followed by printing the book (either as one enormous volume or several chunks, released in quick succession.) Last summer and fall, this was what I was hoping we'd be able to do.
If you make this choice, the readers don't get a book in 2009. You're not sure when they'll get a book. Brandon took a year to write 400k words, and feels that he's around halfway done.
So, if you choose this option, let's say Brandon writes all 2009, delivers you a rough draft of a full, 800k book in 2010. 800k words would take roughly eight months to edit and revise. Production would take another eight months or so. (Minimum.) You'd be looking at releasing the book somewhere in summer 2011. Perhaps one volume in June and another in August.
2) You could publish the 400k as they are done right now. If you do this, the readers do not get a book in 2009. 400k would take roughly four months to revise (and that's rushing it), and you'd have to put the novel into production with a January or February 2010 release date. That's not too far off the November 2009 date you'd promised people, so maybe they would be satisfied. But you'd leave them with a story that literally cut off right in the middle of several plotlines, and which did not have tied up resolutions.
In this scenario, Brandon writes all through 2009, turns in the second half sometime around April or May 2010. It takes roughly four months to edit and revise that portion, and you're looking at a summer 2011 release for the second half. Maybe spring 2011. (This way, you get the whole thing to the readers a little bit faster than the other option because you have the luxury of putting one half through production while Brandon is writing the second half.)
However, in this scenario, you end up releasing two fractured books, and the bookstores are mad at you for their size. (Which may translate to the bookstores ordering fewer copies, and fans being mad because they can't find copies as easily as they want—this is what happened with Mistborn Two, by the way.). Beyond that, you missed releasing a book in the holiday season, instead putting one in the dead months of early 2010.
3) You could do what Tom did. You go to Brandon (or, in this case, to Harriet who goes to Brandon) and you say "You have 400k words. Is there a division point in there somewhere that you can cut the book and give us a novel with a strong climax and a natural story arc?"
I spent a few days in January looking over the material, and came to Tom and Harriet with a proposal. I had what I felt would make the best book possible, divided in a certain way, which came out to be around 275,000 words. It had several strong character arcs, it told a very good story, and it closed several important plot threads. I felt it would be an excellent book.
Now, this was longer than they'd wanted. They'd hoped I'd find them a cutting point at the 225k mark. But I didn't feel good about any cuts earlier than 275. In fact, I later took that 275,000 word book and I added an extra 25k in scenes (one's I'd been planning to write anyway, but decided would work better here in this chunk) in order to fill it out and make of it the most solid novel possible. Right now, the book sits at about 301,000 words—though that will fluctuate as I trim out some excess language here and there. I suspect the final product will be right around 300,000k words.
Now, let's assume you made this decision, just as Tom did. This is the ONLY case in which you get to keep your promise to the Wheel of Time readers and deliver a book in 2009. (Though, it took a LOT of work to get it ready. I've been pulling 14-16 hour days six days a week for the last three months.) In this scenario, you get to deliver them a solid book, rather than a fractured one.
But you are also splitting a book that Robert Jordan intended to be one book. (Tom and Harriet both have said they don't think he could have done it, or would have done it, given the chance.) A bigger problem is that you're releasing a book without knowing when you'll be able to release the next section. You aren't certain what to tell people when they ask how large a gap there will be between the books; it will depend on how long the next chunk is and when Brandon can finish it. (Plus, Brandon keeps increasing the final estimate, which—now that I've added some material to this book—indicates that the final product will easily be over 800k.)
So . . . how big will the gap be? Well, the honest truth is that I don't know. Tom has been telling other publishers and retailers that November 2009, 2010, 2011 seems like a safe bet. But that's just an estimate, erring on the side of caution. I'm pretty certain that we have to divide the book in three parts because of where I chose to make the split. There will be another good split at around the 600k mark.
If I had the next 300k or so done already, it would take me 4 months to revise it at the shortest. I feel that the next chunk is going to need a lot more revision than this one did. Partially because I cut into the 450k completed portion with the hacksaw and pulled out 275k. What's left over is ragged and in need of a lot of work. I'd say five months of revisions is more likely. So, if it were all done, we'd have the second book coming out five months after the first.
But it's not all done. It's around halfway done. I've got a lot of writing left to do—four to six months worth, I'd guess. By these estimates, we'll have another book ready to go to press, then, in February next year. That means a fall 2010 release. And if things continue as they have, the third book (none of which is written right now) would come out summer 2011 at the earliest.
And I guess that's what I'm trying to show you with all of this: No matter how the book is split, cut, or divided, the last portion wouldn't come out until 2011. Why? It goes back to that first decision I made, the one to write the book the length I felt it needed to be. And so, it's not the greedy publisher, stringing you along that is keeping you from reading the ending. It's not the fault of production taking a long time. The blame rests on me.
I am writing this book long. I'm writing it VERY long. Most books in most genres are around 100k long. I'm shooting for eight times that length. And one person can only produce so much material, particularly on a project like this. Writing this book, keeping all of these plot threads and characters straight, is like juggling boulders. It's hard, hard work.
You're getting a book this year. You'll get one next year. You'll get one the year after that. I don't know which months in 2010 or 2011 the books will come out. You can keep hope they'll be sooner, but you might want to listen to Tom's November, November estimate, as I feel it's the absolute latest you'd see the books.
I know some of you will be mad that it is getting split; I feel for you, and I hope to be able to persuade Tor and Harriet to publish a special edition omnibus some day. But . . . well, they're both convinced that it will be too long for that. I'm not going to fight for it right now; I'll wait until the books come out.
I will continue to fight to get the books released as quickly as is reasonable. But I have to write them first. You've been able to watch my progress bar; you know that I'm working and the book is getting written. I'm not going on vacations and living it up. I'm working. Hard. Sixty, seventy, sometimes eighty hour weeks.
I won't make you wait an undue amount of time. But please understand that some of the things you want are mutually exclusive. You want a high quality book that is of an enormous length published quickly. Get me a time machine and I'll see what I can do.
George Martin and Patrick Rothfuss have both spoken on this topic already, and both did it quite eloquently. Books, as opposed to a lot of other forms of mass media, are unique in that they rest solely on the production capabilities of one single person. A good day of writing for a lot of authors is about 1,000 words. And you're lucky to get 200 days of writing in a year, with all of the other demands (edits, copyedits, book tours, publicity events, school visits, etc.) that come your way. I tend to scale higher than the average, partially (I think) because of all those years I spent unpublished getting into the habit of constantly writing new books.
But even I can only do so much. We'll get these books to you. At the slowest, they will be November, November, November—meaning that they all come out in the space of two years. Perhaps it will be faster. If we can do them more quickly, and keep the quality up, I will continue to advocate for that. But I honestly don't know if I can do another two years like these last sixteen months. I'm exhausted. I've pushed very, very hard to get you a book in 2009 because you've been waiting so long. But I can't promise that I'll be able to keep the same schedule. Plus, I do have other commitments, contracts signed to other publishers, fans of other writings of mine who cannot be ignored. I'll need to write another Alcatraz book this year sometime. And I will have to do revisions on The Way of Kings, which I've stayed pretty quiet about. I'm planning to do these things during down time on A Memory of Light, when waiting for revision notes or the like. But I also can't afford to get burned out on The Wheel of Time. You deserve better than that.
Now, some words about titles. Where did The Gathering Storm come from? Well, in January where it was decided to split the book, I continued to advocate for something that would indicate that this was ONE book, split into three parts. (I still see it that way.) And so, I suggested that they all be named A Memory of Light with subtitles. I love the title A Memory of Light; I think it's poetic and appropriate. Plus, it was Mr. Jordan's title for the book. That alone is good enough reason to keep it.
And so, I suggested smaller, shorter, more generic sub-titles for each of the parts. With a long, evocative title like A Memory of Light as the supertitle, the subtitles needed to be shorter and more basic, as to not draw attention. The first of these was named Gathering Clouds by Maria's suggestion. Book two would be Shifting Winds, book three Tarmon Gai'don, all with the supertitle of A Memory of Light.
We proceeded with that as our plan for several months. And then, suddenly, Tom got word from marketing that the titles needed to change. The bookstores didn't like them. (You'll find that the bookstores control a lot in publishing. You'd be surprised at how often the decisions are made because of what they want.) In this case, the bookstores worried that having three books titled A Memory of Light would be too confusing for the computer system and the people doing the reordering. They asked for the supertitle to be cut, leaving us with the title Gathering Clouds.
I shot off an email to Harriet, explaining that I never intended that title to be the one that carried the book. It was too generic, too basic. She went to Tom with some suggestions for alternates, and The Gathering Storm was what they decided. This all happened in a matter of hours, most of it occurring before I got up in the morning. (I sent her an email at night, then by the time I rose, they'd made the decision out on the east coast.) Some materials had already gone out as Gathering Clouds, and I wonder if The Gathering Storm was chosen because it was similar. I know it was the one out of those suggested by Harriet that Tom liked the most. It's somewhat standard, but also safe.
That title swap came at me rather fast. I plan to be ready for the next one, so hopefully we'll have the time to produce something a little more evocative. I don't mind The Gathering Storm, but I do realize that it is one of the more bland Wheel of Time titles. (My favorite title, by the way, is Crossroads of Twilight.)
I think that brings you all up to speed. The question many of you are probably wondering now is "What did you decide to put in this book, and what did you decide to hold off until the next one?" I can't answer that yet—perhaps when the time gets closer, I'll be able to hint at what was included and what was saved. But know that I believe strongly in the place where the cut was made, and I love how the final product has turned out.
I also want to mention that one of my main goals in division was to make certain that most (if not all) of the major characters had screen time. Some have more than others, but almost everyone has at least a couple of chapters. (In other words, it wasn't cut like A Feast for Crows/A Dance with Dragons with half the viewpoints in one and half in the other.) However, some of the important things you are waiting for had—by necessity—to be reserved for the second book.
I'm almost done with the revisions on the first part. I expect to start writing new material for part two sometime in April. The progress bar will inch forward again when that happens.
Anyway, that's the story of how this all came to be. I don't expect you all to be happy with the choices we've made, but I do want you to understand where we are coming from. I have to trust my instincts as a writer. They are what got me here, they are what made Harriet choose me to work on this book, and it would be a mistake for me to ignore them now.
Those instincts say that we've made the best choices, and I think The Gathering Storm will vindicate those choices. So, if possible, I ask you to hold back on some of your worry and/or anger until you at least read the book this November. As always, the work itself is the best argument for why I do what I do.
This weekend I'll be in Atlanta for JordanCon. I'm expecting to be so busy with the convention that I didn't set up any kind of external signing. I'm still thinking of heading to Atlanta for DragonCon this year, though, and if I do, I'll try to do an off-site signing for those who are interested. However, if you really want something signed—or want to hear about A Memory of Light (including, I believe, an advance reading from The Gathering Storm) come by JordanCon. I think it's going to be very fun.
The Gathering Storm goes very well; I'm still working through last-stage revisions from Harriet, Alan, and Maria. I finished Alan's today and sent them off to him for commentary. Harriet's are almost all inputted, and I'm about 3/4 the way through Maria's. I should have this all wrapped up by the time JordanCon rolls around.
Now, on to The Gathering Storm news. The last few weeks have consisted of entering final tweaks, as requested by Team Charleston as they read the final (but not really final) draft of the book. I got these all in (doing the last of them on the flight to Atlanta—note to self, next time get Business class, as writing on a full sized laptop in coach is killer. When I got to Atlanta, I found that Harriet had brought me line edits. This is where the editor goes line by line in the book and tweaks the language, fixing typos but also revising for clarity, detail, and general readability. Harriet is very good at this, but it meant another few solid days of revision for me, as I needed to enter the changes into the manuscript. It's better for me to do this myself, rather than just having a typist do it, as line edits are often meant to be suggestions or nudges, rather than always just straight revisions. In almost all cases, I just enter the line edits as marked—but there are places where a revision from Harriet sparks me to do a tweak in a different way that I think will help more, and I also can make arguments for certain changes not being made if I feel they change the meaning too much or do something I think Harriet might not have expected. (In some places of a manuscript, a certain phrase will be used intentionally in order to connect to a different phrase somewhere else, and you have to watch how you tweak these.)
Anyway, I finished these yesterday, then made a few spot changes and sent the book off to Charleston. So, in short, the final, final edit is in—though now it goes to copyedit. Copyedit is where a different editor reads through focusing specifically on continuity and looking for typos. Very little is actually changed editorially. I can still make changes when the copyedit comes back, but I'll have to do them on-paper rather than electronically. (Actually, Robert Jordan's editorial assistant Maria will probably handle the copyedit herself, so I'll send any last-minute changes I want to her for insertion.)
That's probably more detail than you needed to know. I guess the thing that it would be good for you to know is that the book is now officially 'In production.' That means we've hit our deadline, and the boulder—so long perched on the peak—has started rolling down the cliff. You no longer have to worry if some phantom problem is going to delay it. It is in, and it is coming.
Harriet is a world class editor–she really is great at what she does. I’ve had several opportunities to meet with her in person–she, and Mr. Jordan’s staff, are awesome. His two assistants, Maria and Alan, are continuity experts and went through my completed manuscript pages fact checking and giving feedback on general issues as well. I had worried that having three editors on this project would make it more difficult to work on, but so far it’s simply been a big help. There is so much going on in this book and this world that having the extra sets of eyes is very helpful.
I’ve really enjoyed the process. At the beginning, after I read all the notes and explained to the team my feelings on the various outlines for the different characters, Harriet pretty much let me call the shots when it came to the actual drafting of the novel. As an editor, she works best when I provide material to her, then she works her magic to turn it from good to excellent. When I turned manuscript pages in, and she came back to me with line edits—where she goes through and tweaks the language of the book—it quickly became obvious what a pro she is and how much she loves this series. It’s truly an honor to work with her.
I've got a good story for you. One time, I was trying to keep track of everyone who was with the character Perrin. You guys know Perrin. So Perrin's off doing this thing, and one of the biggest challenges of writing the Wheel of Time books was the sheer number of characters. Not the main characters—I know the main characters, they're my friends, I grew up with these people, I know them just like hanging out with my high school buddies—but keeping track of all the Aes Sedai, and the Wise Ones, and you know, the Asha'man, and all these various people that are all over the place and saying, "OK. Who is with Perrin and who is with Rand, and who is..."
Anyway. I sent an email off to Team Jordan. You know, Harriet and Maria and Alan who are the... They were two editorial assistants that worked directly with Robert Jordan. Maria and Alan. I think it was Alan I sent an email to, and I said, "Do you have just like a list of everybody? I can go compile one of my own, I'm planning to do it, but if you have one already that says, 'These are the people who are with Perrin.' If you've got something like that." And he said, "I found this thing in the notes buried several files in." And things like this. "Here. I found this. Maybe this is what you want." And he sent me this, and it was called "with Perrin." I thought, "OK. Perfect." I open up this file and it's actually not what I wanted. Instead it is dozens of names of people who haven't appeared in the books yet. These are all the names of all the Two Rivers folk who are with Perrin. Like there are two hundred or so. Just names. Listed off. That have never appeared in the books. Sometimes with their profession, and a little about them, and things like that. And it just blew my mind that there was all of this detail that Robert Jordan had put into this world that nobody sees—and he wasn't planning for them to see. He's not going to have a big list of names in the final book; he wasn't planning that. He just needed to know their names so that he knew that he had them. And this is the level of detail and world-building that Robert Jordan did. I got a big chuckle out of that. Just, list of names. Then I started stealing them like a thief so I had good names that he had come up with, that I could use in the books.
Are you using them for other characters or using them for people...
I'm mostly using them where he intended them to be. Because he had other lists of names for... As the book has progressed and I've discovered these little notes files... Because the notes, there are huge, massive amounts of notes. We say there are about two hundred manuscript pages of stuff done for Gathering...for A Memory of Light. The three books. But beyond that, there are hundreds of thousands of words worth of just background notes, of world-building notes, of things like that. When we say the notes for the book, we're talking about actual specifics to A Memory of Light. But there are hundreds of thousands of other notes; there's just too much for one person to even deal with. So I let the two assistants dig through that. And so once I found out that there were lists of names, I started getting those files so I could use his names in places where we had them. So that I would have to name fewer and fewer people. Because his naming conventions are very distinctive. And, you know, I don't think... I think if you were to read, you could probably tell which names are mine and which are his, because we name things differently. And I'm trying to use his wherever I can, just to give that right feel to the book.
Yeah, I just picked up a couple of them myself. They look gorgeous.
Yeah, they did look really good. Is it more of a Harriet thing? I know we're also talking about the movie itself. Are you involved in that, have they been coming to you and asking you your opinion on things, or is that more of a Harriet...
That's been mostly Maria. Maria's been handling that. Maria is the continuity expert on staff. And so she's been handling that. I suspect they will come to me when they reach these books more. But I've been so busy, that really it's been her and Jason from Dragonmount that have been consulting on those. And I've just not wanted to stick my nose into it because I've got so much on my plate already with these books. So that's mostly Maria. So if you want to ask about those, interview Maria.
On October 27, Book 12 of The Wheel of Time, The Gathering Storm, goes on sale nationally. Completed by Brandon Sanderson from notes and partials left by Robert Jordan, it is very good. I was its editor, as I was editor on ALL the Wheel books, and Maria Simons, Jordan's right hand for over 12 years, and Alan Romanczuk, Jordan's left hand (just because you can't have two right hands unless you are ... Shiva, is it?) have worked very closely with Brandon as well. We three—Harriet, Maria, and Alan—have really worked as Team Jordan on this book, and will do so on the following two, which will complete the Wheel. Book 13 will be titled Towers of Midnight, and Book 14 will be A Memory of Light.
Even Jordan couldn't have written everything he left in one volume, although he thought he could. But you recall that he thought he could write the entire Wheel in six volumes.
Try The Gathering Storm. I think you'll like it a lot. I do.
Update: Some additional comments from Wilson:
I was a Jordan fan before he was Jordan. The Warrior God was my childhood idol, the big brother I didn't have. Love is too weak a word to describe my feelings for Jim. I would do anything for him and would defend him with my life. That includes defending his work. Saying that, I could not be more pleased with the work done by Team Jordan: Harriet, Brandon, Maria and Alan. The Gathering Storm masterfully continues Jim's story in a manner that would be pleasing to the creator himself. There are countless "oh my!" moments. The pace is staggering. I fear that there will be many WOT fans who will lose sleep on the 27th because they just won't be able to find a stopping point.
I said before on this blog, that I loved Jim for bringing Harriet into my life. A grander lady there is not. Still what she has done in orchestrating and beautifully completing Jim's work has raised her stock even more. Love you sis. The Warrior Angel is surely smiling.
Congratulations to Team Jordan. Can't wait till next year.
Brother/Cousin 4th of 3
I’m a lucky man. Not only did I get chosen to be a StormLeader, but I also got to be chosen to be one for the NYC signing. New York City, location of the Tor HQ. Not only would Harriet be at the signing, but I’d also get to meet Maria Simons, RJ’s assistant and fact checker, what she doesn’t know about WoT doesn’t exist…literally. Not only did I get to meet Harriet and Maria, but the StormLeaders were invited to a pre-signing party put on by Tor. I got to meet many of the people behind WoT. I even got to meet and talk to Tom Doherty, the head of Tor. Like I said, I’m a lucky guy.
Maria Simons is quiet and self effacing. But she starts to get quite animated when the subject swings around to Wot. Her face lights up and she speaks more quickly and with great authority. I wish I had had a couple of hours to speak with her, but alas, time was tight and the events were strictly scripted.
Maria, (pointing finger) Tom Doherty and Harriet (also pointing finger) having fun at a Tor staffers expense. Brandon in the black leather jacket with his back to the camera.
Maria models her Brown Ajah Shawl.
It was also mentioned that balefire does not mean that someone can't be reborn into the Pattern.
I was very surprised by this and hadn't heard it before, but apparently Brandon has said it in previous Q&As.
Brandon said he was also surprised but that Maria was very insistent about this—so if the Dragon Reborn was balefired, he could still be reborn.
Moiraine words the Third Oath, "I vow that I will never use the One Power as a weapon except against Shadowspawn, or in the last extreme of defending my life or that of my Warder or another sister." (New Spring 11) This ...wording of the Oath is supported by the reswearing of the Oaths by Pevara and Seaine (The Path of Daggers 26), and the BWB (24), among other sources.
Egwene words the Oath, "I vow that I will never use the One Power as a weapon except against Darkfriends and Shadowspawn, or in the last extreme of defending my life or that of my Warder or of another sister." (The Gathering Storm 43) The 'Darkfriend clause' is supported by Sheriam (The Great Hunt 23), Alanna (The Shadow Rising 31), Niall (The Dragon Reborn Prologue), Rand (The Fires of Heaven 2, 41), and also implications by Moiraine (New Srping 2) and the BWB (14).
RAFO, or error? And, if error, which is the correct wording?
My job has constantly evolved. First there was fanmail and filing. Then the audiobook project got underway, and someone had to go through and mark all of the changes in point of view so that Michael Kramer could read the male POVs and Kate Reading could read the female ones. Jim decided that I could do that, so, much to my delight, I was getting paid to read The Wheel of Time. I was in hog heaven, of course. At that time, Jim was finishing up A Crown of Swords, and when the proofs came in, Harriet suggested that I assist in going through them, but Jim said no, he didn't want to spoil me. I was crushed. Over the next year or so, though, my job broadened. He gave me the in-house glossary to tidy up, and some of his notes to consolidate. He also would give me lists of questions like "Has character A ever met Character B?" and "Give me three examples of character C's speech" and "Find me all of the information you can on what a baby feels as he's being born." By the time he had The Path of Daggers ready to give to Harriet for editing, I had convinced him that I could help with maintaining our house glossary going forward, and he decided that I would get the pages at the same time Harriet did. Harriet encouraged me to edit as well, and I would do that and pass the pages on to her. I don't know if any of my edits made it into the final book, but Harriet did begin recommending me for freelance editing.
I did other things as well. Jim had a massive personal library, and mentioned that he would love for it to be cataloged; I cobbled together a classification system, using WordPerfect mail merge. I also cataloged his music collection, and kept the existing catalog of movies updated. I did shopping for him, arranged appointments, worked on the Wizards of the Coast RPG and the New Spring comics. When the new cat went missing, I made and put up posters in the neighborhood (we found her hiding under the house, eventually); when cranes and herons started stealing goldfish, I was given fox urine to spread around the pond to discourage them (Jim did encourage me to delegate; I managed to pass that one on to someone else. It smelled so bad that that idea was soon abandoned and we covered the fish pond with a net. I still sometimes find huge birds staring hungrily at the fish when I walk out there). Eventually I took over the bookkeeping as well. He took to calling me his right arm. Over time, I picked up assistants, two of whom are still with me: Marcia Warnock, who took over the book catalog, spread the fox urine, keeps me in office supplies, handles all the annoying phone calls, and keeps me on schedule; and Alan Romanczuk, who took over the questions and research, became our IT specialist, and assists with the bookkeeping, among many other things.
Then, after the Knife of Dreams tour, Jim was diagnosed with amyloidosis. Our focus changed somewhat; we all worked to help him and Harriet as much as we could. After the night that Jim told the ending to Wilson and Harriet, I would sit and talk with him about the end of the series, with a tape recorder running. The last thing that we did together was select the winners of the calendar art contest. Note: I didn't select, I just gave him the art and took notes, and then emailed the winning names to Tor. That was two days before his death.
The significant thing that has changed about my job since then is that Jim isn't here. It's quieter—there is no big, booming voice calling "Maria!" or singing as he comes in the office. There's no one explaining military stuff to me and making it really clear and interesting. There's no one sitting at his desk wearing a silly hat. What I do at my job hasn't changed that much. Now I work directly for Harriet, who is as wonderful a boss as Jim was. When Brandon has questions about the books, I work on finding answers, as does Alan. When Brandon sends us a book, I go through it looking for continuity errors, just as I did with Jim, and suggesting other changes, just as before. I still do the bookkeeping with Alan's help, and other banal stuff. I know a lot more fans now, of course; I went to JordanCon, DragonCon, and the Charleston and New York booksignings for The Gathering Storm. I can hardly wait until JordanCon 2, which as I type is 11 weeks and 1 day away.
Heh. That's more or less it, but . . . let me tell you a story. One day, many years ago, I went into Jim's office. While there, I mentioned some problem that I was having (I have no idea what it was; it was that long ago). Jim immediately proceeded to give me chapter and verse on what to do. I answered that I was going to think about it more, and then went upstairs to my office. A few minutes passed, and then there was the booming "Maria!" from the bottom of the stairs. I went out, and he said that he was sorry for going all patriarchal on me, that I was a grown, capable woman and that I should do what I thought best. I hadn't even thought twice about it, but he was worried that he had overstepped his bounds. Therefore, I hesitate to call him a patriarch. He was our leader.
So we all worked together. It's a strange little group, sort of random, but not really. Harriet was at my wedding; she appears in some of the pictures taken. Jim may have been there (really, most of that day is a blur in my memory), but he was probably off writing. Marcia was once my husband's boss. She and I share the same birthday, and almost no one can tell us apart when we answer the phone. Alan's son went to the same school as my sons; I became friends with his wife before I ever met him, and he later coached my son's tennis team (It was at a tennis match that his wife suggested he might be interested in working with us). We're coworkers, yes, but we are friends too. We watch out for each other, and we've always joked that we're more like a family than a business. Dealing with Jim's illness brought us all even closer. We pulled together, and supported each other. And yes, it very much did help us when he died, and since.
I frequently encounter things that make me laugh out loud. WoT fans are an extremely clever bunch. Once, at Wotmania, someone joined using Harriet's name. That person made a lovely post that included the (false) info that Talmanes was a Darkfriend (I have a crush on Talmanes. Not as big as the Mat crush, but . . .). There have also been many posts regarding Bela that tickled my funnybone (Is she the Creator? A Darkfriend? The Neigh'blis?). And somewhere recently I saw someone aver that it stated flat-out in the text who murdered Asmodean; it had just been transcribed inaccurately. According to this poster, Asmodean didn't say "You? No!"; he said "Uno!" And Leigh Butler's reread posts generally make me laugh out loud as well. It's rare for me to go a-lurking and not lol at some point.
'YouNo' lol. That's brilliant. And I guess it means I don't have to ask the tedious 'who killed Asmodean' question and we can just move on into the fan stuff.
It was great to work for Jim. We started off just doing fan-mail and filing. He was finishing up A Crown of Swords, and he wouldn't let me help copyedit because he didn't want to spoil me. But, as time went on, I convinced him to let me organize his notes: that is when I found out the truth about Verin. And when The Path of Daggers came along, he let me work on it.
And he was great. He'd come in singing in the morning, he would say thank you, and he bought me cookies. If I made a mistake on anything, he didn't fuss and yell, he just said "Fix it." He was just fabulous to work for, and Harriet is too.
In 2001, I was hired on recommendation of Maria Simons, who had worked for Jim for years at that point. I had known Maria through our children going to the same school. Maria's work had gotten to the point where she couldn't keep doing the research for Jim—the continuity work, looking up obscure facts—because of all her other responsibilities. So, I was brought on to pretty much take on that aspect of what Maria had been doing.
I met Jim the day I came in. He was sitting at his desk and stood up, and we had a nice little chat about pipe smoking and fantasy, a little bit of this and that, and I then went upstairs to my little burrow in the back of the carriage house, where I've remained for many years.
Normally, I have a lot of alpha readers on my books. These are people that, once I finish a novel, I let them look at it and give me a reader response. In the case of the Wheel of Time books, most of those were not available to me. We have to keep it quite tightly under wraps and not show it to a lot of people. So, it is nice having multiple editors, both in the form of people who directly edit the book such as Harriet, Alan, and Maria, and also people like Tom Doherty, who has given me some good advice. My normal editor, Moshe Feder, did a read through on this book, and my agent did as well. All of them are giving advice.
I am immediately juggling Alan, Maria, and Harriet's comments. I'd send a chapter in and then be working on the next one, and that chapter would come back three times with three different sets of revisions on it. That got really challenging to juggle. There was one time when I was flying on a plane to an event for Tor, and I had three separate paper sets of a chapter printed out along with electronic commentary by them on the chapters. So, I was juggling four files and three sets of paper on the same pages, trying to get this all inputted and changed. It got . . . well, it was a juggling act.
Number one, let's talk about the blademaster issue. I'm not at liberty right now to say what's in the notes and what isn't, but I can tell you I'm drawing from the notes when I'm writing. I don't know why certain things weren't mentioned before in the series.
Maintaining the Wheel of Time continuity is an enormous task. There are so many questions like "What was Bryne's rank during the Aiel war?" where I ask Maria and Alan and just trust their instincts. There are other ones where they're not even sure.
Much of the time, when we run into issues like this, it's just me making a mistake. I do apologize for that. I promise you, I have read these books a number of times, but I don't have the type of mind that memorizes facts and repeats them back offhandedly. I have to do a lot of reading each time I write a chapter, and I often make mistakes. A lot of the time, these mistakes come because I HAVE been reading the series for so long. I've got these long-seated impressions of characters and events in my head that go back all the way to my teenage days. And they're not always right. (I didn't learn to pronounce some character names until I was well into my 20s.) Sometimes, I just assume I know something when I've been wrong about it all along. Those are the dangerous ones, since I don't think to look up items like that.
Anyway, with every printing of the books, Maria goes back in and fixes continuity. It happened when Robert Jordan was writing the books (though not nearly as often as it will when I'm writing them, I suspect). So what can I say about that? Well, Harriet is putting together a comprehensive encyclopedia that will become the definitive answer to these sorts of questions. Until then, I'm letting Team Jordan handle it.
By the last of the Wheel of Time books, my role was primarily that of wife: keeping him fed and cared for—because after 20 plus years I had taught him everything I knew about storytelling and prose, and he had really become the wonderful writer that he was.
Working with Brandon is wonderful, because he is a grand human being as well as a very good writer. My role has expanded a lot—Brandon was amused that I made a cut in The Eye of the World that was exactly the kind of cut I made in The Gathering Storm—and I know these characters very well. They are, after all, a lot like my grandchildren.
Maria Simons, who has worked with Jim and me for fifteen years, is absolutely indispensable in the creation of these last books. Her memory is much better than mine—and she can often say what chapter of what book includes a particular scene. I cannot. She also has a tremendous memory for the minutiae of how the Power works, and lots of other stuff. And with Maria, Alan Romanczuk is also indispensable. He is a military veteran, which helps a lot with military stuff Brandon is not as familiar with as Jim was, and in general with all the other stuff.
I am now a member of Team Jordan, as far as the editing goes.
How difficult has weaving Towers of Midnight around The Gathering Storm been? Is there a large amount of inter-connectivity? Do we cross back on any events in The Gathering Storm?
Yes, we do cross back on events in The Gathering Storm. The trickiest part was timeline. Robert Jordan had this innate ability to juggle timelines. This is not something he relied on Maria, Alan, or Harriet for; it was something he did on his own, just part of the genius of his brain. All of us are pretty new at this. I mean, I wrote Mistborn chronologically. There wasn’t any time juggling. There was time juggling to do in Elantris, but it was across the course of a single novel. It didn’t get as extensive. For the Wheel of Time, timeline things that Robert Jordan kept in his head are quite incredible, and I have to admit that I’m not as good at it as he was. Perhaps someday I will be able to get to that level, but for now I’m simply not. So working with the timeline has taken a lot of effort. I think we’ve got it so it all worked out. It took a lot of help. Maria, Alan, and others all worked together with me to get things arranged—some of our beta readers were extremely helpful in this—but there is a lot of juggling back and forth. You will see some events from different perspectives. It is not a complete jump back like book ten was. I would say that the book is mostly new material with a few glances at other things that are happening, but we’re moving forward; I’d say 60% of the book is taking place past what happened in The Gathering Storm. And then there’s one timeline in particular where we jump back and catch up—that’s Perrin’s timeline. But it was really challenging.
Thanks Brandon for doing this, and Peter and Maria for helping it to happen. Much appreciated!
Not satisfied, I press harder, saying this will be revealed in further reading [skeptical].
He said there were a lot of things Jim (RJ) wanted fans to keep guessing and wouldn't answer, and this was one of those things about the cosmology that he wanted.
Then I asked Maria (yes I was sneaky), and her answer made her sound kind of unsure how to answer it, but then she finally said:
Well he is called the Lord of the Grave, so...
So seems like Ingtar and Verin really paid a huge price to help the Light-siders. Again, not sure if this was asked but I thought it interesting....and who knows, they may change it since its not finished yet.
The glossary, remember, was begun as a tradition before there were internet wiki sites, and it's limited by size in what it can contain. I don't do the glossary; that's all on Team Jordan. Maria handles it.
As for why the big secret was included in the glossary, I've said before that Harriet made the decision where it would go. I actually did suggest it, though I later changed my mind and thought I would put it in somewhere else, but she said, "No, I love this idea of the glossary." The reason I think that we like the glossary location so much is because the instruction I received from Robert Jordan was just a Post-It note that had written on it, "This is right," attached to a sheet of paper that was an explanation, one of the many, printed off from the internet, talking about who killed Asmodean. That Post-It note saying "This is right" was all there was—I didn't know the how, the why, the circumstances, any more than you know. So we felt that rather than extrapolate all of that ourselves, the best thing to do, as frustrating as it might be, was to give you the information much in the same way that we got it, as simply a "This is the person." That still allows a bit of theorizing on how this person was involved in the event, whether it was by her hand directly, or whether a servant was involved, or that sort of thing. That allows for theorizing.
One of the tricks of working with this is, I basically have five editors, with Harriet at the top, and then there's Maria and Alan right below. And then Moshe my editor is giving us reads...because we can't use my normal alpha readers for this, which are my writing group, because they'd all have to be part of the NDA and that's just too many people. And so instead we brought on Moshe to just give me an alpha read, a dry alpha read. And then my agent also gives me dry alpha reads, because they all are interested professionals and part of the NDA and things like that.
But basically, even looking only at Harriet, Maria, and Alan, what would happen is on The Gathering Storm, I would send in some scenes, and then I would start working on the next ones. And I would get deep into the next ones, and then some papers would come. I'm like, oh revisions. So I'd go back and start doing revision. And then another group of papers would come from another one of them that had revisions that were different. And then another group of papers would come that were a third group of revisions. And in some cases, they've all caught the same typo, but then I have to end up searching for it three times because I can't remember if I've changed that typo or not. And then I can't find it. I'm like, oh I guess that's one I caught, but really sometimes I didn't catch it, I'm just on the wrong page or something. Anyway, I have three sets of paper all from different people making different revisions, and sometimes they disagree with one another on what should be changed, and they're not seeing each other's revisions.
Meanwhile, I'm on tour trying to fly around and carry all of these. You should have seen me on the airplane one of these days where revisions were needed the next day, and I'm flying on a six-hour flight in coach. And I'm cuddled like this between two people in the middle seat, with six hundred pages around me, trying to find all three pages that are editing the same section, and realizing that one's in my suitcase. This was absolutely a nightmare to do.
And so this time, I'm like, let's go all digital, I'll have them all on my computer, it will be so much easier. But Harriet had never done digital revisions before. None of you had, I don't think. And so the idea was we would have one person do a revision, and then they would hand the file off, and that person could go through and a revision and add their comments, and then the next person would be able to do it. And that would have been wonderful in a perfect world. Unfortunately, we didn't have time for that because we were so crunched for time. And so what would happen is they all would be working on their own machine because they all needed to be reading at the same time, they couldn't wait for the other person. And so then they would all three send me documents digitally, which is easier to work with than trying to dig out all fifty pages of each. But at the same time, then I have four documents: my document, and three documents with revisions in it, from different versions of Word or Wordperfect or Open Office or whatever it is. I basically would just send them all to Peter (Peter Ahlstrom, Brandon's assistant) and say, "Peter, meld these somehow."
Peter deserves kudos.
I would like to say, at the beginning of the editing process on the last book, Brandon was 7 feet, 3 inches tall.
(reading) When did Lan (LAHN) first become...oh, Lan (rhymes with pan), sorry. I hear all these names at JordanCon, and half of them pronounce them one way, and half of them the other way, and I end up getting bad habits.
Yeah. I don’t care.
Yeah, but Robert Jordan cared, so I try to care.
So is it Lahn or Lan?
Okay, good, because that’s how I pronounce it.
As far as I know—someone could correct me—it’s Lan, but Lan was one of those ones that—I believe—some major source had wrong. I could be completely wrong on this. I know Tar Valon (Tar va-LAHN), one major source had wrong, meaning an audiobook reader, or an original typo in one of the glossaries, or something, which really itched at Jim as I understand because he really wanted it to be Tar va-LAHN and not Tar VA-lun. So...when did Lan first become a blademaster? Well...between New Spring and The Eye of the World.
Wait, didn't he...he wasn't a blademaster in New Spring, was he? No...
Not that I'm aware of. And Ryne was better than him then at that time, so...
Yeah. So, somewhere in between those two. I suspect that was one of the things that Jim wanted to do in the prequel.
Right. Because there was definitely not a big deal made of it when he killed Toram Riatin.
Okay, the notes say that Lan became a blademaster before he turned 20, which would have been before New Spring. My thoughts on this are that Lan got his sword at an early age, and worked really hard with it, and was judged a blademaster by five blademasters sometime pretty early on. It's not mentioned specifically that I can find in New Spring, but it makes sense to me.
As I understand, if you are 'spun out' you do not respond to the call of the Horn. So no Cain showing up if it is sounded again, as he's been spun out.
As you understand it? Isn't your understanding more or less canon at this point?
No, it's not his world or book series. He can misunderstand something just as well as the next guy.
Not saying he did here, but just 'cuz he's finishing the series doesn't mean, for example, he can retcon or change anything or do "whatever he wants or thinks".
No of course not. But if there are two ways to understand something (that RJ has written) wouldn't it be up to Sanderson to decide which of those he believes to be right?
So if he thinks that when he's spun out he wont respond to the Horn, no one can ever prove him wrong (there are nothing in the books to contradict this), so wouldn't his understanding be the "right" one?
Here's the thing. There are three million+ words of notes, and RJ changed his mind about a lot of things as he wrote, explored, and made decisions. (He talked about this being his process. He saw the Wheel of Time as an organic thing.) So any time I speak on an issue like this, there's the chance that Maria (his assistant) will come to me and say "Actually, Brandon, he changed his mind on that. Look here for the revision." Half the time, it's something he mentioned in passing to her, Harriet, or Alan and isn't even written down.
So...on things I think I know, but haven't confirmed with Team Jordan yet, I usually add some wiggle room. My knowledge is far from absolute. Fortunately, everything in the books I write gets fact-checked a half dozen times. (Even then, some of my mistakes slip through.)
Are you going to write another WoT encyclopedia?
Harriet, Maria, and Alan are working on one. Harriet promised it to Tor a few years back, and I think it's been officially announced that she's working on it. There is no firm release date. After A Memory of Light is complete, I'd imagine.
WOT question: Did you go through ALL the notes from RJ on the Wheel of Time (if that is even humanly possible) or just those related to A Memory of Light?
Mr. Jordan left behind notes for the series which, word-length wise, is in EXCESS of the length of the written novels. That was just too much for me to handle. I've used Mr. Jordan's assistants for fetching information from these reserves, and have focused most of my efforts on the notes specifically left for A Memory of Light. The Guide has been very helpful. But mostly, if I need to know something from the notes, I send Maria and Alan searching while I work on the actual prose.
The evening began with the amusing sight of Brandon Sanderson piling various items of furniture on top of one another to create a home-made lectern for his laptop. Following a brief aside on the difference between a lectern and a podium (and how this plays into the editorial process), Brandon read from a novella he’s recently written. [Legion] Apparently, he started it on the flight back to the US the last time he came to the UK. He couldn’t work on the Wheel of Time since he was awaiting the outcome of some research on the notes. He went on to explain that Robert Jordan left a pile of notes roughly half Brandon’s height that his two researchers dip into when Brandon needs an answer to one of his questions. This is normally quick, but it can take several months to come up with a fully researched answer. The reading lasted about eight minutes and seemed to be from the beginning of the novella. I won’t spoil the concept, but it’s clever and deeply silly.
The evening then moved to a Q&A. Questions and answers are paraphrased from my notes and memory, so they won’t be absolutely word-for-word, but they shouldn’t be much different from the original conversation. I’ve included all the questions, not just the Wheel-related ones.
Okay...we don't really know. No one really knows. It's an ancient artifact, probably not a ter'angreal.
Excuse me, Maria, I have to interrupt for just a moment. I actually found some notes on this, in the bottom of Jim's desk.
I don't know if anyone's interested.
Just a little?
The Horn of Valere, as Maria said, it was created by mortals—we know that; Jim has said as much publicly—and the Horn was created in the Age before the Age of Legends, or at least one Age before; it was not known how far back. But I've discovered that the Horn actually was the original Horn played by Dizzy Gillespie. [laughter] It was manufactured by King—it was the silver flare model. And something happened after this Age...there was so much Bebop imbued in this instrument that it took on its own magical qualities, and when it was found during the Age of Legends, the bent bell was refashioned into a curve, and they put in the Old Tongue inscription inside the bell. [laughter]
That is awesome.
Wow. I never would have guessed that.
Well, it's really obscure. The power of Bebop is unlimited, and it just transformed through the last couple of Ages, to get into Rand's world, with its current...now, originally, when he blew it, musicians would appear.
AH. Backup band.
But because of the needs of the time, you know, it suddenly became, Heroes would emerge when it was played. So, that's all we can really say about it. Do you have anything else to add, Maria?
I can't wait until the Theorylanders get ahold of that.
Oh yeah. So now we know that the Wheel even weaves inanimate objects into the Pattern, and makes use of them as it wishes.
Now, that story I expect to see in the next Great White Book, version two. [laughter]
Which brings me actually to...well, that was one of the questions I was going to ask later on; I thought I'd pick a different tangent rather than ter'angreal and the Horn of uh…call it vuh-LEAR.
Please correct our pronunciations, too, you guys, whenever you run across them; that's one of the big things we want to pin down is, how we should pronounce some of these things so if you hear us say something and you don't think it's what RJ would have wanted, then please just break in and say 'no'.
[in her sweet little girl voice] Okay.
Valere (rhyming with vuh-LEAR) was the way he pronounced it.
Yay, I got it right!
Who's keeping score?
Well, I'm almost never right, so it's good to be able to say I was right for once.
I used to be wrong about a lot of pronunciations when I first started working for him, because that was about the time of A Crown of Swords, and I would say something, and say it wrong, and he would give me this look, like 'What are you saying?' and correct me, so I got most of them down over time.
I can see that look perfectly, because I actually have a very short video clip from one of the book signings where somebody tried to pronounce 'the Shaido', and he just gave them 'the look', and said, 'It's not Shy-doh. It's not Shadow. It's Shah-EE-doh. Everybody kind of went, [in a small, apologetic voice] 'O-kie.' [laughter] He could quell an entire room with one look. It was amazing.
The first time I met Jordan at a signing, the first thing he said to me was correcting my pronunciation of something. I was like, 'Awww, I ruined it! He'll never talk to me again now!'
He wouldn't hold it against you. I—
Oh, yeah. Well clearly he didn't because he did eventually come to DragonCon, so...
Will we ever find out whose voice it was at the end of The Eye of the World?
[pause] [in a sing-song voice] RAFO! (ray-foe)
Yeah, that's a RAFO. (raffo)
I figured, but I had to ask.
I wondered how long it would take.
Maria and I have spent some time trying to figure out different ways to say 'read and find out', so we're going to be trying out some of them today, and we'll see how it goes.
Oh, this will be fun. Let me see if I can get you another trial run here. Um...Asmodean? [laughter]
Yeah. Who's that guy?
He's toast, that's who he is.
No, Sammael's toast.
Yeah, I was going to say.
Well, I think he is too.
Um, if anybody sees the back of my car, they will see that I killed Asmodean. That's all I'm gonna say. [laughter]
I thought it was Bela!
I do like the 'Bela killed him' theory. That one is just insane enough to be true.
I like that Bela is the Neigh'blis. [laughter]
Terrible puns are always a good thing.
I love it.
And the master of the terrible pun is on this call.
In Jim's office.
Well feel free. [laugher]
I am, I am.
Pun away. Well, we've got two...you pronounce it 'raffo', right? Not 'rayfo'?
I say 'rayfo'. I don't know that there's a real pronunciation for that one.
She says 'raffo', I say 'rayfo', so let's call the whole thing off.
Yeah, well we got two right off the bat. I don't know what else we're going to....well, probably everything.
Well, 1) we haven't seen Elayne in a whole book; we don't really know what she's doing, and 2) she has problems channeling because of this pregnancy deal, and 3) everything's going to be in the Old Tongue and she's a little busy to sit down and translate documents.
But you don't understand the significance of that ter'angreal: Jim foreshadowed the creation of the Kindle. [laughter]
Mmhmm, he did. And actually, Elayne—right now as we speak—is in her bed reading fiction on that.
I bet they're dirty romance novels.
I was going to peg her for an urban fantasy fan.
No, no, no, no, no. She loves the Harlequins. Case closed.
Oh, the Harlequins. Yeah.
Either her or Aviendha, but one of those two is definitely into the Harlequin super-romance.
How can she get all excited about the cover art of Fabio when she's got Rand? [laughter]
Have you seen the cover of Lord of Chaos?
Yeah, I'm telling you! No comparison.
Yeah, that one was nicknamed at our house 'Passion of the Aes Sedai'. I actually had to take the dust jacket off of that one when I would take it to school, when I was in high school, because I was like, "I do not want people to think I'm reading some kind of filthy romance novel in class."
Well, I'm thinking more of, what was it? A Crown of Swords? Where he's got the, uh…all he needs is some baby oil and a little less clothes and he looks like he's posing…
We love fist-pumping, body-building Rand.
Don't make me get out the water bottle to squirt you ladies. Jeez… [laughter]
I have a big cardboard cut-out of fist-pumping, baby-oil Rand in my garage right now. I use it as a [decoration] at conventions. [Amusingly, it was stolen at JordanCon 2011, a few months after this interview.]
Is that cool, or is that creepy?
Well, it's a little insane I think.
Birgitte thinks he's been reborn into the world.
That's a nice answer.
Birgitte thinks he's been reborn?
She's mooning over all the ugly boy-children she can get her hands on, thinking "Ohh, maybe this is him!"
But keep in mind the only way she thinks that is because she hadn't seen him for a while in Tel'aran'rhiod before she was yanked out by Moghedien. So we don't even know if that's true, do we? (I just threw that out for what it's worth.)
But she did always say that he was usually born before her, but we don't know how long in real world time, so he could be more than a child, hopefully. Or he could still be lurking in Tel'aran'rhiod.
But there's no way he could be more than a child. Correct me if I'm wrong, Alan, but the entirety of the books we have isn't more than a couple of years, is it?
Yeah, it's been about twenty-four months for the main characters. Alan would know for sure.
Yes, I'm not saying this is true. Well, of course I know, but I can give you various possibilities: he could be born as a child right now; he could still be lurking in Tel'aran'rhiod; he could have been ripped out the same way Birgitte had been, in which case he would be an adult, right?
Unless he was dead. Because wouldn't it require someone to bond him after he gets ripped out? Wasn't that kind of the deal with Birgitte?
Well, maybe he's stronger than she was…maybe he's…
There are a lot of possibilities.
Unless somebody has a really ugly Warder they're not talking about… [laughter]
Not all Warders are beautiful. I mean…
Go check Myrelle's quarters. I know Myrelle has a real penchant for hiding extra Warders around… [laughter]
Yeah, but she likes hers pretty.
She got Lan.
Lan's impressive, but I don't know if anybody would call him pretty any more. [laughter]
Yes, yes. One thing you have to remember about Jim is he never did a single reference in any of his descriptions, whether it's a military uniform, a city, a character—everything seemed to draw from multiple sources. So yes, Cairhien was most likely in part based on London, but you look at the map of it, and you can see it's very different as well. It's laid out in a very rigid grid fashion. You could say in that case, well, maybe it's based on New York City in part as well, and it has a palace up on the highest hill within the bounds of the city. That's not true of London, but it's true of other places. And London wasn't the only city burned by attack; there were many others. But yeah, I mean Jim had a huge number of books in his reference library, and he traveled a lot as well, so he saw many of these places, and in typical Jim fashion...you know, I wouldn't be surprised if he had eight or ten or twelve influences in the creation of Cairhien.
That's great, because what actually caught my notice—because, even the Great Fire of 1666 probably would have passed me by in connection to the Wheel of Time world, except for the fact that, then I looked at the semi-Puritanical dress that the nobles in the city were taken to wearing, and then we were…I actually on the day I thought of this question was sitting there looking at a screen with the picture of Oliver Cromwell, the Lord Protector, and I was just like, "You know, that's like, almost what I kind of envisioned the Cairhienin nobility to kind of look like."
Well, one thing we've never seen in any of the Wheel of Time history that I can recall—and London, just talking about it brought it to mind—is, we've never seen a large-scale plague in history, like with the Great Plague of the year…I've forgotten now.
Well, of course, so many of the rats have been eliminated, but they're back now.
They're back! Maybe your plague is coming, like they need more trouble. [laughter]
The Last… (cross-talk)
No, go ahead…
The Last Battle is…
It's funny that you brought up London as an influence, because most people when they're talking about influences on Cairhien, they really pick up on the court of the Sun King and Marie Antoinette because the style is very, you know, 1700s, late-1700s and Marie Antoinette, and there's also a lot of Japanese influence, and that tends to be what people pick up on. So this is the first time I've had somebody say, "You know, I think there's a London in Cairhien," so that's kind of interesting.
I guess everybody brings something different to the books, and interprets them in their own way.
Oh yeah, definitely.
Yeah, another interesting point: anyone remember what the name Cairhien means in the Old Tongue?
Hill of the Golden Dawn.
Hill of the Golden Dawn. The Order of the Golden Dawn was an occult society in London back before the beginning of the 20th Century.
Yeah, that's right. I'd forgotten that.
Which I just bring out as, you know, yet another thing that Jim latched on to and threw into the mix.
Most people think 'the hill of the golden dawn' is like, 'Oh, the land of the rising sun!' which would be Japan, because there's a heavy Japanese influence in just the style of the buildings and things like that seem very Japanese.
Sure. And the Sun King of France.
Yeah. It's kind of like he just pulled everything that was related to the sun and just kind of melded it together to make Cairhien.
He liked mixing things up.
And it works really well. That's the surprising thing to me is that he was able to pull from so many different sources and make things seem very coherent and logical for the cultures.
Yeah, I like the fact that everything that you read as you're going along, all these things sort of tug at the back of your mind and you're thinking, 'Oh, this reminds me of this, and this reminds me of that', and it makes you really think that it adds a depth to the thing that you can come back later and explore it again.
Okay, I've got a game for you. Go to Wikipedia. Put in something like 'golden dawn', let's say…or just anything. Pull anything from the Wheel of Time books that's distinctive. Put it into Wikipedia until you find a hit. I almost guarantee, within that article, you're going to find yet another reference from the Wheel of Time. Track that. See how many hits you can go before you run out.
I'll have to try that.
I did that the other day, and I wound up spending an hour and a half of just going from one thing to another. It was really amazing.
Yeah, I can see myself losing an afternoon doing that.
Oh yeah, easily.
I've lost too many hours to Wiki-walking already.
I guess that's why it bothers me so much about that library ter'angreal…if I had that, I'd never be able to put it down, and I guess I just don't understand how somebody could…if they can't deal with it, then delegate, but this is me. It's the equivalent of having a computer hooked up to the internet; I could not walk away from it. It would be a Mindtrap for me. [laughter]
Not that we know of.
We don't know that we've met anyone yet?
Okay. Think they'll discover a way to be able to detect someone who has been turned?
Anything is possible. [laughter]
More Aes Sedai answers. But I guess I expected that!
Well, what do you expect? You are of the Brown Ajah there...
Green. I'm Green. If I were Aes Sedai I'd be Green.
Oh, you're spot on. Spot on.
Jim actually spoke pretty extensively in public about the Old Tongue, and I even pulled up a letter that he had written about it in which he says, "The Old Tongue is based on, for example, the languages: Gaelic, Russian, Spanish, Chinese, Japanese, Arabic, and some additions of my own—bridging material if you will. Grammar and syntax are a blending of English, German, and Chinese with some influence from a set of African languages read about long ago, and all but the oddities of structure long since forgotten." He has converted constructions…the thing about the Old Tongue, the way that it's constructed…it is a very loose language, like Latin I guess; it can be presented in almost any order and be intelligible to someone who knows it, and there are several conventions involved in it which could be explained for a longer podcast, but those are the basics. He really did pull them from a lot of different areas, and he started by constructing the language—as I recall there is a list of 850 or 880 common words that you need to know to be able to speak in English, and I don't know who created these, but he had that. We have file, and he modified that, kicking out some words like 'electricity' and so forth that wouldn't be useful in this, and adding some others, and putting definitions to them in Old Tongue. I never added it up, but he said we had a file of about a thousand words, and this dictionary will be published at a later time.
That is awesome.
And that will be part of the encyclopedia, actually.
That'll be great.
I can't wait. That sort of leads me into my next question which is something that, two years ago when Brandon was out on the Mistborn tour—the last Mistborn book tour—during an interview, I asked him if he could please come up with some way for us to say phrases having to do with the Light, such as 'Walk in the Light,' or 'May the Light illumine you' in the Old Tongue, and he said he would do his best, and I think he just forgot. But we do have the audio; he kind of sort of promised us. We're hoping that maybe you can bail him out on this one. [laughter]
Well, I think all will be revealed in the encyclopedia.
Aww, I can't wait that long!
Except what isn't revealed.
How far is the encyclopedia coming? People ask me about it occasionally, and I'm like, 'I dunno; they're working on it.'
Well, it's been back-burner recently because we're doing Towers of Midnight, but that's my next project to get back into, doing basically the skeleton for it, and after A Memory of Light we will go full bore on it.
Oh, excellent. I remember Harriet saying that it was due one year after the final book, whenever the final book is out.
And we're working on it in between when we get time, when we're not doing podcasts and so forth. [laughter]
Oh, now you're making us feel guilty. [laughter] But not very.
Egwene (egg-WAYNE), Taim (tah-EEM), Faile (fah-EEL), Egeanin (egg-ee-AH-nin), [???—Ethenielle? (eth-IN-ee-əl]…that's all I can think of off the top of my head. Well, Nynaeve (nigh-NEEVE) seems to be mispronounced a lot too.
I could not even read her name when I first saw it. I was just like, "I'm going to skip her; she seems like a minor character." And then I was like, "Aw, crap; she's actually in this story; I'm gonna have to figure out how to actually read her name."
I can't believe it; I've actually been saying them all pretty well. It's always a worry, especially when you're doing a podcast, because you know, when people are going to be listening, you don't want to start a trend if it's not going to be the right thing.
The worst is when we get the feedback that says, "You're not saying that right! Get your pronunciations correct; you're supposed to be experts. Then it's like, "No, we're not." We actually say a lot that we're nowhere near experts in the series.
We're just fans like the rest of you guys.
I still say some things wrong, but I've been saying them that way for a long time, so…people can get over it.
At the reading that we did at DragonCon, Brandon had to read the word "Aesdaishar" for the first time out loud, and he had to stop and be like, "I've never said this word before; make sure I get it right." That was funny.
Oh, and Elayne's brother is Galad (gə-LAHD), and Gawyn (GAH-win).
Yes! We've been getting those right too!
And see, I usually say GAL-id (like the word 'gal'). I know it's wrong, but that's what comes out of my mouth. But I have on my little piece of paper here it's gə-LAHD.
We'll just chalk it up to you being southern. Gallid is the southern way of saying it.
Well, we don't really know no one did. If they did, they didn't share it, sure. You know, not all channelers are Aes Sedai, and even Aes Sedai don't always share things.
Yeah, they keep a lot back.
The Blue Ajah, you know, has all its little secret weaves, and I'm sure all the other Ajahs do as well. And two, there's always the whole thing that, 'the Wheel weaves as the Wheel wills', and sometimes the Wheel weaves out what it needs, and with the Last Battle coming, it needs all the help it can get…so the really talented people, the really ta'veren people, they come out again. That's for most of them. For Healing, maybe there's a different answer. Aes Sedai…they know how to Heal people, and that's the way they do it, and they don't need to know anything better! I mean, it's just Aes Sedai being Aes Sedai. They think they know what they're doing, so they don't look for a better way to do it.
And if they have discovered a better way to do it, they're probably not sharing it with other people, because every Aes Sedai is looking for an advantage over the others.
Oh, okay. So then that sort of partially answers the next half of my question, which is: How did some of these weaves get lost in the first place?
Oh, my favorite rant. All the Aes Sedai woke up one morning with amnesia. How did I Travel? I can't remember.
Well, part of it…I mean, I was reading, of all things, the Big White Book, and you know, the Breaking lasted a really long time, and things were really breaking. I mean, you might know how to Travel, but you didn't know if where you were trying to go was still there. You know, it might be in the middle of the ocean now, or on top of a mountain, so people probably weren't Traveling as much...and Aes Sedai were being killed right and left. There were all these crazy men, channelers wiping out entire cities, and the Aes Sedai women were trying to stop them, and sometimes they succeeded, and sometimes not…so, things really went to hell in a handbasket. Fast. And, you know, if a woman knew how to channel and she couldn't find anyone else who had the strength to channel, she couldn't really teach anybody to channel.
To Travel, is what I meant to say.
Yeah, there was a time of course when the White Tower wasn't there. You know, the White Tower was a recent innovation in the grand scheme of things, and so the Aes Sedai after the Breaking were everywhere, so there wasn't that institutional memory in all things at that point, and things were lost.
So the Hall of the Servants, then, basically was a much looser organization than the somewhat hierarchical White Tower…
…than we have now.
So we have a sort of central storing place for knowledge, or anything like that.
Yeah, think of what would happen to us if there was a horrible disaster that wiped out the internet. We would lose all of our knowledge except for, you know, the stuff that we still have in books. But you know, a good portion of our knowledge and communication that is electronic now would be gone.
But this podcast would remain in people's hearts. [laughter]
Well, you got me on that one, Maria, because if my computer was suddenly taken away and there were no others to replace it, I think I would probably have the equivalent of amnesia. It's my plastic brain, and I really need it. [laughter]
I've always thought that the lost talents were related to strength, because the modern Aes Sedai are weaker than the Age of Legends Aes Sedai, and a lot of these rediscovered weaves require a certain level of strength that just doesn't exist in those Aes Sedai.
Right, and also talent, because to do this Healing, you have to have a certain Talent for Healing. To make cuendillar...Janya couldn't make cuendillar worth a darn, and…she didn't have that Talent, so if somebody knew it, but there was nobody they could teach it to, it's gone!
Well, the thing is though…leading up to that comment: remember in—I believe it was Crossroads, but it might have been Knife of Dreams—when Sorilea (soar-ih-LAY-uh)—I have no idea if this is how it's pronounced...
She taught Cadsuane how to Travel, even though she couldn't make the weave work herself. So just because you don't have the strength to make the weave finish doesn't mean you can't form the weave anyway.
That's true, but...okay. We've got our nameless Aes Sedai after the Breaking, and she's found a little crew of people, and none of them are strong enough to Travel. Well, she's going to show them how to do it anyway and hopefully one day they'll find somebody strong enough but, you know, they never do. So we've got the same thing, and you know, sooner or later it's going to…if you can't actually use it for anything, you're going to put it aside and not pay any attention to it, and it will get lost.
Or, by the time that bunch of people finds someone who is [strong enough], it might have gone through several iterations and they might have the weave just a little bit wrong, so that it doesn't work either.
And—correct me if I'm wrong on this—but I don't think it's possible to write down how to do a weave. I think it's something that you have to learn through demonstration. You can't just write it down, and be like, 'Well, I'll put this on the shelf, and some day a hundred years from now someone will come along and pick it up and figure out how to weave...whatever from this. I feel like you have to be shown how to do a weave.
That is...I mean, that's how they do it. You know, the novices don't run around with heavy books; they run around being taught by actual people. It's my belief that writing might could give clues or something, but you have to be able to show it or work it out on your own.
Of course, I was going to say they could just check on YouTube and find out how, but then, would the One Power weaves even show up on video? [laughter] If they even had that...
Oh, that's a good question!
I actually was just wondering about that; I wonder if any these things—I'm sure that the effects would—but I presume that if most non-channelers can't see weaves that probably there's nothing there for a video to pick up, either...but it's an interesting question.
How to detect channeling: Whip out your camcorder! [laughter]
With a wi-fi finder.
Yeah, okay. I'm going to be good now. That would be too funny. It's a shame Jessi couldn't be with us. She really wanted to be, but she had to work, and couldn't get off. One of her favorite premises is, you know, how drastically the Wheel of Time story would all be changed if they had access to cell phones and texting and the internet and everything.
Oh yeah. There would be no story.
They do though! Elayne has the communication ter'angreal. They have cell phones...ish. They just don't use them! [laughter]
Give 'em time.
I sort of [?] a couple of the guys before one time when we were podcasting and I had to get up in the office; I was working and I had to turn a phone off, and I came back and I said "I just had to disable that callbox ter'angreal." And they said, "Oh, you are such a geek." [laughter]
A 'dork' is what actually they said.
No, you are a geek, because dorks have no social status whereas geeks are more knowledgeable in one or two given fields, and since we are all major WoT nerds—we qualify as nerds, not dorks.
Yeah, we got some cred there anyway.
Yeah, but apart from Birgitte, yeah. I've always had this sort of fantasy in my mind that Nynaeve might be the reincarnation of Eldrene, the last queen of Manetheren, or something like that. And Mat, you know…gosh, he seems like...before he even left the Two Rivers, the Old Blood was coming out really strongly in him; it makes me wonder if he's not the actual rebirth of some extraordinary battle hero from Mathetheren. [silence]
Interesting speculation. [laughter]
Which is going to go nowhere!
We're not putting answers into their mouths! We're supposed to be getting answers from them, not giving them answers to give back to us! [laughter]
Oh, was that a question?
Well, sort of!
No, you're doing well; keep going. [laughter]
He's going to do what he always does; he's going to sit back and listen to all the answers until he finds one that he likes, and he says, "You know what? That was it!" [laughter]
Well, I guess this is something that we're just gonna have to hopefully read and find out...
…or I hope some of these questions are not going to be Brandon has said that Robert Jordan just said that 'this does not get resolved', you know...
That would be a shame. [laughter]
I'm not sure where that will leave us. Endlessly speculating till the Wheel stops turning…
There's no beginning or ending to the Wheel of Time.
Virginia will be reborn again once she passes and she will still be even more into WoT than she was now. [laughter] I can see it.
I can see it.
You'll learn your letters so you can read Robert Jordan in the cradle. [laughter]
I think you'll have a huge advantage, cause all the books will be out by then and you'll just be able to read 'em one after the other.
That's right, although I was going to say that I think I have the advantage, I was probably reading Robert Jordan when a couple of you guys were in the cradle.
Well, not in the cradle, but I was itty bitty when the first book came out.
I think I was still in the cradle.
Wow. I feel old.
Yeah, that's cause he…that's cause you're just…
I am twenty. I'm not even twenty yet, so...
Oh my gosh!
You weren't even born when the first book came out, buddy.
There you go.
Yeah, but they still put up with me, and I think I'm older than Cad-swayne. Is that right? Cad-swayne? Cad-swanee?
Oh, yay! Whew. So far I'm...
Except that we know that Cadsuane is a couple hundred years old, which, you know, is older than the country.
Okay, so I'm not quite older than Cadsuane...
You come close.
Yeah, I feel like it. Anyway, enough of that...
You're as old as Re-anne. Or is it Re-annie?
That's on that list.
Yeah, I've been saying that one wrong the whole time.
In general, are ending Es pronounced in the Wheel of Time names, like Reanne?
It varies. He wasn't really…I mean, sometimes yes, and sometimes…I mean, I was thinking about this, because if Cadsuane's final e was pronounced, she would be Cad-soo-ae-nah, like Macarena, and you could do a whole dance. But… [laughter] There doesn't really seem to be a rule. It's just how he felt that day I think, or how it sounded to him.
Some are, and some aren't, you know. It is kind of confusing, but we don't know for sure, if we're even right when we guess that, so you be the arbiter on this one. Unless, as Brandon said in our interview to him, unless Robert Jordan comes down to us in a beam of white light and sets us straight, some of these things may not ever be known for sure, so you have to tell us as best you can. Speaking of names that end in E , two that almost kind of strike me are, um…I started out saying muh-RELL, and then I kind of went to muh-RELL-uh, because of the presumption that the final Es were pronounced, so I don't know for sure which one is right on that; I go back and forth between that.
That's interesting. I say my-RELL. I'm not absolutely sure that's the way Jim said it.
Okay, what about lee-AHN, or is it lee-AHN-uh?
lee-AHN-uh is correct. That one is Leanne. And Reanne.
I believe that Myrelle…it's my-RELL.
You pronounce the Y?
Mm-hmm. Like 'my'.
It was pretty close. She did a good job.
That is interesting, because I'm still speculating that there may be other Black Ajah working around that haven't been discovered, and actually I have a whole load of questions I'd love to ask, but I just know they're all gonna be…you know, "Read and Find Out" answers. It always amazes me that Egwene spent so much time under Halima's thumb, in a way, that I can't believe that the only weaves that she laid on her were producing migraines. It makes you wonder if there isn't some hidden Compulsion weave going on there, that we'll find out later that maybe some of the Black Ajah in the White Tower could take advantage of. You know, there are so many things like that that I just know…
Yeah, I don't wanna go there.
I don't think that there's any Black Ajah left in the White Tower currently.
I wouldn't wanna bet my life on that. I don't think there are many.
Other than Mesaana who's hiding somewhere because she can defeat the Oath Rod, or so thinks Egwene herself in the end of The Gathering Storm.
Well, you still have the Black Ajah that escaped, too.
Yeah, there was a lot of those that got out.
And we have Maria and Alan just sitting there going, "Yep, yep; you do." [laughter]
No, I was just thinking that she was minimizing headaches. What a horrible thing for migraine-sufferers.
Oh, listen…I get migraines. I have complete and total sympathy for anybody that gets migraines, but it seems to me like that probably wasn't the most…probably wasn't the only thing that she was doing to poor Egwene.
Well, the consensus that we…that was in the WoTFAQ when I was editing that article this summer was that Halima doing something to suppress Egwene's Dreaming talent so that she was not getting messages about the future any more, from whatever causes this to happen, and so the headache is the side-effect of that. I don't know if this is true or not; this is just the fan speculation from the WoTFAQ, but it is very telling that as soon as she gets away from Halima and is in the White Tower, her Dreaming ability comes back, because she had been having nightmares that she couldn't remember before about being chased by something, or something like that, and then when she gets into the White Tower, she stops having those nightmares, and she starts having the prophetic dreams again.
And she stops having headaches as well.
Yeah, and the headaches go away. And she does not make the connection in Knife of Dreams when she first sees this happen. I don't remember if she makes the connection in The Gathering Storm when she finds out about Halima's infiltration of the Salidar Aes Sedai. I have to go back and reread The Gathering Storm in the next couple of weeks, because I'm a little fuzzy on the details there.
Mm-hmm. Well, it certainly seems plausible. [laughter]
I'm not surprised that you guys have got this down to an art.
You guys give the perfect Aes Sedai answers.
I love it when I ask Maria and Alan things that relate to FAQ, and they'll just kind of smile and nod at me and go, 'That's a good guess!'
I was going to say another Aes Sedai answer, but then...I wonder if we’re going to get the Asha’man known for convoluted answers, but then they don’t have the oath rod to get around. They can say whatever they want to at all times.
They'll just blow you up and have done with it.
Yeah. They are refreshingly direct about their methods.
Hmm. There's a book coming out on November 2nd? [laughter]
We're surprised you haven't asked about that, and we were fully prepared to, but I'm sorry, we've run out of time. [laughter]
I plot backward. I start with a goal, and then I build an outline that gets me to that goal. And then I write forward. With the Wheel of Time books, I'm in a unique position because often I have that goal already stated in the notes, or it's a scene that Robert Jordan has written that I need to get to. The outline for the first two was very detailed, because Robert Jordan had all of these materials which I needed to weave into an outline. We say there was an outline. Really there was a list of scenes in no particular order, and I had to turn them into an outline. And I wanted to go over that with Maria and Harriet and make sure I wasn't screwing anything up.
Okay. Well…I guess we'll just go into the pronunciations.
Well, our next little bit needs a little bit of a lead-in for our listeners who don't have access to our huge list of questions like we do. As part of our interview questions, we have a list of words, and we asked, "How do you pronounce each of these words?" And there are about 43 of them. There are probably some on here that don't need to be on here, and I know that there aren't some on here that should be, but these are the 43 that we came up with.
Yeah, Spencer got mad at me because I went and annotated the list, like…I gotta be exact, and he's like "No…"
I didn't get mad at you! I just took 'em off; I'm like, "Oh yeah, you're right; take that one off." Anyway. And so Maria, Alan…would you please go through the list and tell us how to pronounce these names and places?
Okay, here we go. And I may, you know, be wrong on some. But others, I'm pretty sure of.
And feel free to add some in if something occurs to you as you're going.
O-kay. We have add-uh-LAY-us. (Adeleas) el-FINN. (Aelfinn) eyes-DEYE-shar. (Aesdaishar) (RJ used EYE to rhyme with the word 'eye') ahm-uh-DEE-see-uh. (Amadicia) [glossary: ah-mah-DEE-see-ah] (ah=ahhh sound, uh=schwa) ERR-id doe-MAHN. (Arad Doman) [glossary: AH-rad do-MAHN] arr-uh-FELL. (Arafel) [glossary: AH-rah-fehl] brr-GEE-tuh. (Birgitte) (hard G) [glossary: ber-GEET-teh] Brenn. (Bryne) [glossary: BRIHN, GAH-rehth] KEYE-ree-enn. (Cairhien) [glossary: KEYE-ree-EHN] CHA fah-EEL. (Cha Faile) (mid ch) drag-car. (Draghkar) [glossary: DRAGH-kahr] EEL-finn. (Eelfinn) guh-LAHD. (Galad) [glossary: gah-LAHD] GAH-win. (Gawyn) [glossary: GAH-wihn] GALE-donn. (Ghealdan) [glossary: GHEL-dahn] I'm not sure if it's huh-REEN or huh-REEN-uh. (Harine) din toe-GAHR-uh Two Winds. ILL-ee-in. (Illian) [glossary: IHL-lee-ahn] ill-ee-AY-nuh. (? - AY is long A) CAN-door. (Kandor) (door like the word) lee-AH-nuh. (Leane) [glossary: lee-AHN-eh shah-REEF] mall-KEER. (Malkier) [glossary: mahl-KEER] my-EEN. (Mayene) [glossary: may-EHN] myur-an-DEE. (Murandy) [glossary: MEW-ran-dee] MEER-drahl. (Myrddraal) [glossary: MUHRD-draal] NEIGH-bliss. Sorry. NAY-bliss. [laughter] (Nae'blis) NEFF. (Naeff?) nee-AHM Passes (Niamh Passes) nigh-NEEV. (Nynaeve) [glossary: NIGH-neev al-MEER-ah] Plains of mah-REE-doh. (Plains of Maredo) ree-AH-nuh. (Reanne) seye-DAR. (saidar). [glossary: sah-ih-DAHR] seye-DEEN. (saidin) [glossary: sah-ih-DEEN] sall-DAY-uh. (Saldaea) [glossary: sahl-DAY-ee-ya] see-AEN. (Seaine?) Alan…
SHE-nar. (Shienar) [glossary: shy-NAHR] Swan. (Siuan) [glossary: SWAHN SAHN-chay] sor-uh-LEE-uh. (Sorilea) [glossary: soh-rih-LEE-ah] terra-BONN. (Tarabon) [glossary: TAH-rah-BON] TAR-win's Gap. (Tarwin's Gap) tell-uh-RON-ree-odd. (Tel'aran'rhiod) [glossary: tel-AYE-rahn-rhee-ODD] Tower of genn-JEYE. (Ghenjei) (hard G) truh-MALL-king. (Tremalking) [glossary: treh-MAL-king] too-AH-thuh-AHN. (Tuatha'an) [glossary: too-AH-thah-AHN]
Do you want to go over the saidar/saidin thing we talked about?
In the glossaries of the books, Jim has it sah-ih-DEEN and sah-ih-DAHR, but I swear, I don't think he pronounced it that way; I mean you kind of give a little hint of the i but not much: sah-ee-DEEN, sah-ee-DAHR.
Yeah, he always seemed to be saying seye-DEEN and seye-DAHR.
I'm surprised at how many of those I thought I knew, but I didn't.
Yeah. That's like, "Waait a second, that's not…but oh, I guess it is."
How do you pronounce the Traveling people again?
There's something else with the double A there…
ah-tha-AHN mee-AIR. (Atha'an Miere)
Okay, great. Any others you can think of that are commonly mangled, that would have driven Jim crazy?
I think I've mentioned tah-EEM before, and egg-ee-AH-nin…
dee-MAN-dred? dee-MAHN-dred? DEE-man-dred?
Ehh...dee-MAHN-dred, I think…but I wouldn't swear dee-MAHN-dred. [glossary: DEE-man-drehd]
How about all of the Forsaken? A lot of them often get mangled, or a few. GRIN-doll?
Grindle, is how I say it. [glossary: GREHN-dahl] And it's interesting, just looking at a thing, and I pronounce CADD-in-soar (cadin'sor) wrong. [glossary: KAH-dihn-sohr]
Yeah, because it's supposed to be cah-DIN-soar. [It's not, according to the glossary.]
Okay, because I say it the way you say it.
Yeah, I think… [inaudible] so that makes sense.
Oh! ish-AH-may-el, and SAM-may-el. [glossary: ih-SHAH-may-EHL, SAHM-may-EHL] [When RJ said it, the 'may' part was more like the German 'Mai'.]
Yes. Those are really common mistakes; I hear that a lot.
Ben [?] was right; we had that famous tagline from the original podcast, and we had this thing…I think, "Sammael was pretty buff!" [laughter] We used that a lot, and it sort of went away when he did, I guess.
Another one that I have lots of problems with—and I can't believe I didn't get it on the list—but is the GOLL-um (gholam), or the…I can't even pronounce it right now.
Yeah, the GO-lem, that's chasing Mat.
Oh, it's Gollum! [crosstalk]
I am not absolutely sure, but that's how I say it, so…
What about some of the other Seanchan beasts that made me think of, the grolm, then there were two of the others that…
ROCK-in (raken), and TOE-rock-in. (to'raken)
Yeah, and then there was another one, the um…
Torm…the book is right in front of me…
Oh, maybe it was the name of that…oh, Suroth's pet!
Oh yes, that thing. I can't remember… [crosstalk]
The LOW-par (lopar)?
Yeah, the lopar. Almandaragal was his name, or something like that?
Something like that. I would have to look it up.
It was a LOW-par (lopar), wasn't it?
Yeah, lopar. I think there was another one that I couldn't…maybe I'm just hallucinating. [laughs]
I'm sure there's a zillion others I'll think of after you're off the air here with us…
Oh, s'RED-dit (s'redit) is another one. Remember the elephant-like creature?
Corlm, C-O-R-L-M (I like that word). Torm…that's all I can find.
What about Tuon's new name as Empress?
Fortuona, okay. I'm not sure how else you could pronounce that, but I've been wrong before, so...
That, I'm assuming is right; I'm pretty sure I heard Jim pronounce it that way, because that was his choice of name.
There must be something else; there seems like a million things, and that I didn't add enough to the list.
Oh! What about—speaking of historical figures—LAH-tra…poe-SAI? Or poe-SAY? deh-KYU-meh? (Latra Posae Decume)
Oh yeah, LA-tra (LA rhymes with laugh)…
I got the Latra, but I'm not sure about the second and third names.
It's P-O-S-A-E, and then D-E-C-U-M-E.
deh-COO-may, okay. [crosstalk]
That's totally off the top of my head. I see it (?) and think it, anyway. po-SAY-uh deh-COO-may, yeah.
I need to learn Old Tongue for 'Read And Find Out'. [laughter]
I'm still waiting for 'May the Light illumine you'! [laughs] I was hoping somebody'd pop up with that for the podcast, and that's how I try to close each episode, so that's why I asked Brandon for it. I'm just gonna have to hound him.
I did! [laughter]
Robert Jordan killed him, actually.
The third, yes.
Oh! I had forgotten that myself. That's scary.
Yeah. So, first off I think we should probably take a real quick moment of silence, and then after that, Maria and Alan, if you two would like to say something, anything to commemorate it for the podcast, we will get this out shortly so it won't be outdated. So, just a couple of seconds, and then if you two would like to say something.
"He came like the wind, like the wind touched everything, and like the wind was gone." And I miss him still.
I think we all do.
Very much missed.
As do we all.
Well, there will never be another like him. That's all I can say.
And I should say, that's the first time I've ever heard anyone purposely have silence on the radio.
Well, it'll be a first, I suppose. I think I've heard it done before, but...
We've done it before.
Like when we first found out about his passing, we had a quick—like very, very fast…
We had a quick recorded moment of silence.
…and we had a quick moment of silence, exactly.
What has been the most enjoyable part of working on the Wheel of Time?
Damn near all of it? Um…[laughter]…seriously.
You can tell us 'read and find out' on that one. [laughs]
You know, I came in and I started this job—it's been almost fifteen years now—and I came in and I was not helping with the books at all; I was doing fan mail and filing, and about that time they decided to do the audiobooks, and they were doing them, you know, male and female, and Jim looked at me one day and said, "They're doing male and female; I need somebody to read the books and mark when it changes from male to female point of view. Can you do that?" And I'm like, "Uh-huh, uh-huh! Get paid to read the Wheel of Time?" I mean, I was a big fan before I started the job, you gotta understand…so it's like, this is, you know, a dream come true. I'm getting paid to read the Wheel of Time. It's just so great. And Jim…he was just so much fun. He would come in in the morning, singing, and forget I was here and set the alarm so I would step out of my office and set it off, and the police would come. [laughter] He knew everything. I mean, he just knew so much, talking with him was, was…wonderful. And Harriet is just an amazing lady, and Brandon is way cool. I mean, this job is a dream. I love it. And I get to talk to great people like you guys, and go to cons.
Can I tell you how extremely jealous I am of you right now?
Jealous enough to turn to the Dark One! [laughter]
Perfect servant! Perfect servant.
What about you, Alan?
Well, I've been here, I guess, a little over nine years at this point, and just to back up what Maria said, you know, just being able to hang out with Jim and work with him on a daily basis was such a great kick. We're here surrounded by a physical representation of Jim's mind, in a way; there are 15,000 volumes in our offices, many of which are reference books, and it's just so wonderful to be able to, you know, tap that side of your mind. And Jim would ask the most obscure questions to be dug out in various places, and that's just such a great amount of fun for me, just digging out useless information of any possible sort. He would…you know, there are things that go into the books that are important to know about, and as you know, Jim was very, very fastidious and rigorous in his background of what he was writing about. If he wrote about blacksmithing it was going to be absolutely correct in all ways, as best as he could make it, and so Maria and I both became part of that process, just digging up a lot of things for him. So it's, you know…what we've got here is essentially a job where she and I come in 8, 9 hours a day, live in a total fantasy world. 8 hours, 7 or 8 hours are spent asleep. Much of that is very vivid dreams, so it's another fantasy world. That only leaves about 8 hours of reality that we have to deal with. And you know, we've found ways of making that kind of disappear also. So, it's great. I mean, I figure I'm living about 85% total fantasy at this point [laughter] so that's…it's a wonderful place to be. I'd recommend it to everyone out there.
Unfortunately, there's something of a limit to the number of Robert Jordans that there are in the world, although that leads me right into my next question...
Now that…obviously no one can fill the hole that Jim Rigney did. I mean, no one can take his place. But we have Brandon now, and you're working with Brandon, but now it's a long-distance relationship. How is that working out? And he's such a maniac for work; I cannot imagine how any human being gets the amount of writing that he does done, and all the other things that he does.
I'm convinced he's a robot. [crosstalk]
He's an android, yeah; he's an android; I'm sure of it. He's a big cuddly android, but I think, you know…really suspect!
He's pretty amazing, I mean…but the work ethic he has is just incredible. I mean…The Way of Kings and Towers of Midnight, the same year. It's amazing.
I know! And Alcatraz too, I think…and a tour! Two tours!
Oh yeah! Two tours, and a couple of cons—or more, actually, than a couple. But the long-distance thing…you know, living in the future makes it easy, and we actually, here, all of us, um…older farts in Charleston made the jump to digital editing for Towers of Midnight which made it a lot easier than The Gathering Storm when we were still doing everything on paper.
Oh, wow! I didn't realize you guys did that all on paper!
Oh yeah…oh yeah.
I can't even imagine how complicated it would be to do it on paper.
It was pretty, uh…it worked. We got it done, but we made [?], and it was still kinda complicated because I had no idea how to do some things, and I have to email, and Peter—Brandon's assistant—would tell me how to do it. Peter's great; Peter is fabulous, and…
I know; I heart Peter.
I wish I could have been at DragonCon, just so I could have met him.
Oh, me too.
But, um…you know, it's…it works. You know, we've got email, we email back and forth; occasionally we do the phone call; occasionally we actually get together, and it's...
Yeah, probably the most difficult thing is the time difference, and…not only is he, what, three hours behind us, but Brandon does so much of his work, ah, in the evening, and in the early hours, and consequently doesn't get up at five in the morning…
That's usually when he goes to bed.
…and so, if he has to ask us something quickly in the middle of work, or if we have to ask him something quickly, you know, we might have to wait for one or the other to wake up and get to the office.
He might as well be in New Zealand, as far as the time overlap.
Yeah. But, you know, we made it work.
Cool. Well, I think Peter's probably got Dream Job #2.
Oh, I dunno, how do you keep up with somebody who's like that? He's just…I mean, just talking to him in person—and I'm sure that probably Robert Jordan was the same way—I think it's a little overwhelming. There's so much creativity going on, and you can see that the mind is working so fast, it's almost like two or three different things going on at one time. And you know it's not, but it just almost seems that way, and you can almost get a little overwhelmed just trying to keep up with the flow of ideas, you know.
And that's very true, with Jim, and especially Jim and Harriet talking together sometimes. [Alan laughs] You know, it would be like, "Wow. What…what? Wow." Because they're just so incredibly bright, and it was just…very cool.
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Want me to tell you about my dreams? I keep dreaming it's the Last Battle, and it's not just, you know, in the book; I'm at the Last Battle, and this is a recurring dream kind of thing, and like, one night was the Last Battle, and Napoleon showed up with his dirigibles to fight the side of the line (?), and we were trying to find out if they were hydrogen or helium, because it, you know, made a big difference.
Makes a difference, yeah.
(?) talking to you…
Another night, Darth Vader—the original one, not Whiny Boy [laughter]—showed up to fight for the Dark One…you know, it just keeps going on and on, and it's fun. Sort of. Sometimes it's scary. There was one where we were fighting the Last Battle in a gated community, and Tam al'Thor showed up, and then we realized it wasn't really Tam al'Thor; it was the Dark One, and so we had to escape. And so we did, and then after that, here comes Wilson Grooms! And, you know, I love Wilson! Wilson is one of my favorite people on earth! And then we realized it wasn't really Wilson, and we had to fight him! And I had a sword, and I had to hit Wilson with—what looked like Wilson—with a sword, and it was just really scary! And unpleasant. And I was glad to wake up for that one...but usually they're fun. [laughter]
You must be a Dreamer!
Uhh…yeah, yeah; I dream. I had a dream once that...
I want whatever you're on. [laughter]
Yeah, I was just thinking that. Send it here immediately!
I think it's called Wheel of Time.
Thank you for your letter. I am glad you like The Wheel of Time, and hope that you will enjoy the future volumes, too. I am currently at work on book eight, which does not yet have a title, and I am scheduled to deliver it to my publisher in the fall of 1997. Both my editor and my publisher feel that I have been working much too hard over the past ten years—especially the last six—and that I need to slow down if I am not to fall over.
Thanks again for writing.
With best wishes,
RJ: mls [<—this means Maria put it together... hehe!]
Peter first spoke in general terms about Brandon's writing routine. He said that Brandon typically gets up around noon, writes from about 1-4pm, spends time with family and stuff, then goes back to writing from about 8pm-4am, and finally sleeps from about 4am to noon. Rinse, cycle, repeat. Peter also said that Brandon has a treadmill desk, and he frequently works at that when he's home or by one of the fireplaces he has in his house. Harriet then noted that she loves fireplaces and wanted to know whether Brandon's were wood-burning or gas. Peter said they're gas fireplaces.
Then Harriet described the editing process for A Memory of Light. She said that Brandon has completed the first draft (as was previously reported). Team Jordan is currently working on reviewing the first draft and making suggestions for corrections and edits. They have divided the manuscript into 9 sections plus the epilogue for editing purposes; Team Jordan has sent the edits for parts 1-6 to Brandon and are currently working on edits for the later sections. [Brandon recently tweeted that he is about halfway done with the second draft, and it is going well so far.]
With regard to the editing duties, Harriet primarily oversees the characterizations and prose, Maria deals with continuity issues, and Alan deals with military stuff, geography, and the timeline. Harriet also said that she and Brandon have had some "animated" conversations about whether or not to cut some specific scenes.
After all the suggested edits for the first draft are sent to Brandon and he has made the revisions, then presumably Team Jordan will review the second draft and provide another round of suggestions for revisions. The beta reader phase has to be fit in there somewhere, too. Ultimately, Harriet said that the goal for getting a final draft to Tor is June 15, 2012. That should give Tor plenty of time to get the book out by January 2013.
Melissa Craib, this year's JordanCon master of ceremonies, asked the Team Jordan members which parts of the story they had been surprised about.
Harriet told about an incident she has described before from when she was writing the blurb for the dust jacket of The Dragon Reborn and finally realized that RJ intended Callandor to be an analog of the sword in the stone. She yelled down to RJ, "You son of a ****, you've done it to me again!"
Maria said that she was surprised... well, actually I've forgotten what Maria was surprised about. Maybe somebody else remembers...was it from Knife of Dreams when Semirhage blows Rand's hand off? That's what comes to mind, but I don't remember any details about why that surprised her, really, so maybe that's not it. :s
Alan at first said that he wasn't surprised by anything; he had figured it all out, of course. Then he owned up to being a little surprised about the scene in Crossroads of Twilight in which Perrin chops off the hand of one of the captured Shaido, because it showed the depths to which a person could go when pushed to the brink.
Peter said he was surprised when it was revealed that Demandred was... (yeah, he was messing with us).
Nalesean at Theoryland pointed out that Maria said that she was surprised by the death of Rolan during the battle of Malden.
I'm sorry I don't have more specific WoT posts for you—I know that Harriet prefers me to be more closed-mouthed. However...
Maria from Team Jordan has finished her revision notes for the entire book, as has Harriet herself. So we're only waiting on Alan's notes.
As he's playing "Great Captain" for me on A Memory of Light, his notes are vital—and he needs to be detailed. When I get them, I can finish revising.
Sooooo...there might be a sooner release date than the current for January?
It is possible, but I don't know how likely.
Darn, I need to haste to be ready for A Memory of Light once it releases. Is there gonna be a ebook version along with the physical book?
(Winces.) Harriet has a distrust of ebooks; she prefers to delay the release. It is her call. (Ebook is a few months later.)
Do we have chapter names yet? Or do you know how many chapters there will be? Or is that a secret?
No chapter names yet, as it won't be until this draft is finished that I settle on the number of chapters. Some are being combined.
I'm truly hoping this book is 1/3 battles/fights.
More than 1/3, I'd say...
Forgive me for not understanding, but what does this mean? Release date's not going to change, is it?
Probably not. It's just a progress update, so people know things are still moving behind-the-scenes.
How's The Stormlight Archive coming? I need more.
A Memory of Light comes first. I will get to the next Stormlight book soon, but not until A Memory of Light is done to my satisfaction.
So this means we will be reading the final volume sooner than first announced?
It is possible, but I don't know how likely. I still need to do two drafts, I feel. Then there are beta reads, then proofreads, then we need at least two months to get the books printed and shipped.
What does it take to be one of the beta readers?
Be one of the major members of fandom for years, and personally know Harriet. (Sorry.)
He also got into his own approach to magic systems, which lead to questions about how much of a challenge he found the One Power and how he prepared himself to handle it (and yeah, he admits being a One Power fan). Brandon explained researching and analyzing the One Power was one of his main focuses during his pre-writing re-read of the series (the other was analyzing the characters' "voices". He also said RJ left a massive amount of notes about the One Power, some of it he's read (he couldn't read everything, he rather relied on Maria to find him the exact information he needed when he needed it). I think he's said that before—or RJ did—but RJ's notes for WOT are longer than the series itself and he always kept adding to them, from back story and history elements to world building tidbits to creating hundreds of characters he could use to sketches for possible scenes. It was Maria's job to index all of this so if he was writing a scene he wanted to use backstory elements or a new weave in, he could have her look first if this already existed in the notes and what of it had appeared in the series already—or if he didn't already have it and needed to create something from scratch.
Sanderson said he resisted creating new weaves (beside introducing those Jordan planned to introduce) for the most part. His contribution will rather be to have the characters figure out they can use weaves they know in new ways—turn them into weapon etc., and for this he looked for details in the previous books. He mentioned one specific example: after Knife of Dreams, he thought characters figured out gateways and deathgates can also be used to slice non-Shadowspawn up in battle.
We also discussed a bit the 21 levels list, which Brandon used a lot. Jordan did start it just the way he described it long ago, that is as a way to keep track of who defers to whom among minor players etc. However, as of now, this document's scope goes beyond this (and it's quite big). The document assigns a rank number to each Aes Sedai referring to the twenty-one levels system, and it lists their personal weaves if they have any, and who knows and have the skills to use which weave and to what extent, their strength in flows if details in the series have blocked this up etc. Brandon confirmed Jordan developed a similar ranking system for the Asha'man as well, but couldn't recall out of hand how many levels there were for them.
Team Jordan update: We’ve been getting a lot of questions about Brandon’s note that Harriet and I are finished with A Memory of Light, and Alan is almost finished. “Finished” here refers only to the first draft. The same day that I finished A Memory of Light, I started A Memory of Light (the second draft, or at least the portion of the second draft that Brandon has sent us). Harriet has already completed that section, and is ready to move on when we receive more. Alan should finish the first draft this week, and he will immediately begin again too. We’re not by any means truly finished with the book—we’re all working very hard, and we trust that Brandon is too. We want to get every detail right, and that takes time. Don't worry; it's worth waiting for.
He was given complete freedom to write, but that he was in constant contact with Maria and Alan about details. He compared it to a broken vase, much of it could be glued together but there were places where there were holes that needed to be filled in.
Maria interjected with the fact that there are well over 1200 files that are at least several sentences long and many many more that are shorter than that.
There was some back and forth with Harriet and Brandon about the writing/editing process. Harriet said a good editor never tells an author how to write. Brandon said that he actually writes the book for Harriet and it’s Harriet’s job to perfect it.
Since you've had this other career—which has helped, I'm sure, in a lot of ways—what impact has this been on your original writing career, I mean I know you had to have slowed down your progress and your series, but you've still been writing those. What are the biggest impacts you've seen on your writing career because of taking on the Wheel of Time?
It's definitely done some...it's made me have to put down projects. In fact, next year, I have coming out the projects I was working on in 2007 when this came my way; The Rithmatist and Steelheart are both books that I did way back then that I didn't feel that I was able to release in the middle of the Wheel of Time books, even though I had them done, because I wouldn't have been able to do the revisions on them, and because I wouldn't be able to support them; I wouldn't be able to do sequels and things like that. They're both YA books. And that's, you know...when I accepted this, I said "Okay, I'm shelving these things." I did get to do a couple of books, I got to do The Way of Kings, which, granted, I already had a draft of that done. So really, the only book in these last years, the last five years that I've been doing this, that I've written from scratch and released was Alloy of Law. And so it's going to...it did kind of slow me down. The only reason it didn't slow me down as much as it could have was because I had all of this stuff done already. I had a great big backlog of books, because I enjoy writing, and I've been writing for years, and back then I wasn't as popular as I am now, so Tor would put things in slots later on, like...while I've been working on these, Warbreaker and Mistborn 3 came out, both of which were done years before I was offered the Wheel of Time. And so...yeah, all of this stuff that I had been working on long ago got delayed, and that was just fine—I went into this eyes open—but it is going to be nice to be able to go back to these things and give them some of the support that I've wanted all along.
You know, this project took more time than all of us expected it to. I had to say yes sight unseen to knowing how big it was. I knew what Jim had said, but I didn't know how much of it was done. I didn't know that we had two hundred pages out of two thousand. There was no way for me to know how much would need to be done. So yeah, it's been a big long deviation, but not a distraction, because I think my writing has grown by leaps and bounds. It's kind of like I had to go pump iron, because writing in the Wheel of Time has been much harder than writing on anything else I've done, and I have been forced to grow, and you can see my being forced to grow between the books in the Wheel of Time books. I think my writing is way better in Towers of Midnight than it was in The Gathering Storm, particularly in some of the ways that that Jim was strong. And so, I think that's helped me. It's certainly not an experience that I would trade for anything. I got to read the ending in 2007, so there's that. (laughter) But yeah, it's been a wonderful experience, but boy, it's been a big, big, big deviation. It's not where I thought my career would go at all.
Was it daunting seeing just that small amount of work that was taken care of before you stepped on?
Well, it's daunting in two ways: First, I got that. It was really nice to have the ending. Like, having the prologue and the ending basically done—those were the two things that he did the most work on—meant that I had the bookends, which is how I build an outline anyway. I know where I start, I know my ending, and I build an outline out of that. But at the same time, there's three million words of notes about the series, which is daunting in another way. Yes, there's two hundred pages of work done on the book, and then there's this stack over here of all these other notes that include all of these things that are just mind-boggling, the stuff that's in there. We released a few of them last year for you guys. Was it last year that we released the notes?
Yeah, we got the page on Cadsuane and...
Yeah, the page on Cadsuane and stuff like that. You just see all of weird things that he had in his notes. I have all the same sort of weird stuff in my notes about like Stormlight and stuff, but it's just fun to see. You go pore through these notes...he has the most random stuff. Lists of trees, lists of people, lists of this, and just millions and millions and words of this stuff, more than I can keep track of at all. It requires Maria and Alan to keep track of all this stuff. So it was also daunting in that, yes there are two hundred pages written, which actually nice, because as I've said before, if the book had been 80% of the way done, they wouldn't have needed to hire me, they wouldn't have needed to bring me in. When a book is 80% of the way done, that's when you get a ghostwriter, or Harriet just does it herself. She really could have done it in-house herself and finished that and said "Look, here we're going to do a few patches and stuff, but the book is mostly done."
And so, getting there and saying "Hey, I actually get to do something with this, I have an opportunity to add the scenes that I've been wanting as a fan for years and years, so I get a chance to actually write these characters, rather than coming in and just patching some holes," was very thrilling for me at the same time. You know, I worried that I would get there and it would just be patching holes—"Write these five scenes," or something like that—and that would have meant I wouldn't have really had a part in it. Granted, that would have been better, because it would have meant there was more Jim in it, and it would have made a better book, but at the same time, when I got to see those two hundred pages, I was saddened but excited at the same time.
Harriet wins. Harriet always wins. Usually what happens is that there'll be...if Harriet says something, we just do it. The only time when there's questioning is when I disagree with Maria or Alan, and we both kind of make our arguments. We do these in-line edits with track changes in Microsoft Word; we'll have whole conversations there, where I'll say "This is why I think this character would do what they're doing," and Maria would come in and say, "This is why I think you're wrong and they wouldn't do this," and we'll have big discussions, and Harriet'll make the call, and then I'll do it as Harriet says, 'cause Harriet knows the characters better than anyone.
And so there are times when I've been overruled—it happens on every book—and there are times where Harriet said, "No, I think Brandon's right," and Maria and Alan—her superfans—disagree, but the way that fandom works, we all disagree on things. You'll find this, and I disagree with some people on how character interpretations will happen, and things like that. Some people, for instance, don't think my Talmanes is true to Jim's Talmanes. Things like that. That's the sort of thing we're arguing over. It's very rarely over main characters, but it's like, "Is Talmanes acting like Talmanes would?" And I read the character one way, and some people read the character another way, and I just have to go with my interpretation, and if Harriet says, "No, this isn't right," I revise it. If Harriet says, "No, this feels right to me," then we just go with it.
Was there ever a case where you and Maria and Alan had a difference of opinion and Harriet had a completely different take?
That all four of us had a different take? Yeah, that's happened; that's very rare but it has happened. We're trying to piece together something that's...there's always this consideration of "What would Jim do?" But there's also a consideration of Brandon as author, not knowing what Jim would do, what does Brandon think needs to happen narratively? And there are some things where I, reading the books as an author, say "This is where he was going." "No, he didn't say it in the notes." "No, it's nowhere in there; he doesn't make mention of it." "This is where he was going; my understanding of story structure, plotting and things, and I can say, you know, as sure as I can say anything, that this is what he was going to do." And, you know, sometimes Maria and Alan, they look at the notes and say, "No, that's not at all what he was going to do; look what the notes say." And I say, "No, that's not what they're saying," and we have arguments about that too.
There's lots of discussing going on. We're all very passionate about the Wheel of Time. It'd be like getting Jenn and Jason from Dragonmount and Matt from Theoryland together and hashing out what they think about where Demandred is, or something like that. There are gonna be lots of passionate discussions. I think, at the end of the day, that makes the book better, and the fact that we have kind of...Harriet tends to just...if she has a feeling, she lets us argue about it, and then she says, like...you know, 'cause she's the one that would sit at dinner and discuss the characters with Jim. None of us did that, and she did that for twenty years, so...yeah.
Actually, we are getting close to the end of The Eye of the World, and it's going well. We haven't talked at all about The Great Hunt, but I'm hoping that we'll start. We've got one more script to go for The Eye of the World, and then hopefully we will be moving on, and the next graphic novel will be out in the fall, part two of The Eye of the World, and it's a lot of fun doing that, and I hope you'll all check it out.
It's put us in awe, also, of the amount of work that goes into creating a graphic novel. A great deal on our part, looking stuff over for approval, but what's happening in the graphic shop, and it's not unusual at all to get emails at 10pm Friday night, or midnight Saturday night, you know, "Here's the latest stuff from us." You know, when do you guys sleep? Any of you who are graphic artists out there, I guess you know what it's like. It's total geekdom. You don't think about eating, sleeping...you just do it. And the amount of change that has to go on in every single panel is pretty awesome.
I've generally written most of the flap copies on all the books. The flap copy is what's on the inner side of the cover of the hardcover, on the dust jacket, the stuff that says "So-and-so..." I remember one of my favorite ones was when I went and..."Siuan Sanche is suspected of barn-burning, in her tattered straw hat." But I was writing the flap copy for The Dragon Reborn, and at the end of the flap copy, I said he is pulling the sword from the Stone... "You son of a gun, you've done it again!" (laughter) But I honestly hadn't figured out it was the sword in the stone. And it really did surprise me, even though I'd been all the way through it, and had edited it, and was writing that flap copy.
Do you have one Maria?
Yeah. It's not a huge one, but we were working on Knife of Dreams—I almost said Knife of Daggers, and I was like, "I know that's wrong." (laughter)—and I got to the part at the end, where Perrin whacks Rolan, and I went running downstairs..."Oh my god! You killed Rolan! I can't believe you killed Rolan!" And Robert Jordan says, "What? He was toast from the start!" (laughter)
Do you have one Alan?
No, I've pretty much nailed it all along. (laughter)
We all tell the truth, all the time.
One of the scenes I keep coming back to that very much impressed me was when Perrin cut off the limb of the captured Shaido, which was a scene...it was surprising, because this was a fellow who had been resisting his lower urges, if you will, all along, but his love for his wife was so great that we saw the degree to which he would push himself to save her, and it's the first inkling we had of what kind of stuff Perrin was made of, up to that point, I think.
Peter, do you have one?
When Demandred was revealed to be... (laughter) (applause)
That's not nice!
Um...sorry, I got nothing.
Brandon responded that it’s highly unlikely, due to it being against Harriet McDougal’s wishes and to the fact that annotations would have to be down to the sentence level, as it was often the case that one sentence would have been written by Robert Jordan, then altered by Brandon, then edited for content and style by Harriet, then copy edited by Harriet’s assistant Maria L. Simons.
Brandon did reveal several doozies in regards to what Jordan left behind, however. Each prologue to the final three books contains a scene written by Robert Jordan. One already known is the scene with the farmer in The Gathering Storm, for Towers of Midnight, Jordan wrote the prologue scene involving the soldiers in the Borderlander tower. And for A Memory of Light? We’ll see.
Perhaps the biggest admission, and one that brought a hush over the crowd, was the reveal that Jordan wrote the chapter in The Gathering Storm where Verin reveals she is Black Ajah to Egwene and the sequence in Towers of Midnight where Moiraine is rescued by Mat. Two of the most important elements in these final books came directly from Jordan’s hand.
Additionally, Sanderson pointed out that the Rand and Perrin viewpoints in The Gathering Storm and Towers of Midnight are more of his work, while Egwene and Mat’s viewpoints in those books are more Robert Jordan’s work.
Brandon also revealed that he makes a cameo in the books, in much the same way that Robert Jordan makes a cameo as an item in Knife of Dreams. (He appears as a ter'angreal of a fat man holding a book in the chapter “A Different Skill.”) A few years ago Sanderson was gifted one of Robert Jordan’s swords, choosing a katana with red and gold dragons twining around the hilt and handle. This gift from Robert Jordan’s family is now present in the series, and represents Brandon’s own cameo, for those who wish to look.
There are a couple of things that Robert Jordan did, like...there are many things he did better than I do, but there are two things that he did amazingly better than I do that have been really hard to try and approach. The first one is his mastery of description. I...prose is not....you know, I do serviceable prose. I don't do beautiful prose in most cases. I occasionally can turn a phrase, but he could do beautiful prose in every paragraph, and that's just not one of my strengths. Pat Rothfuss is another one who can do that, if you're read Name of the Wind; it's just beautiful, every line. Robert Jordan I felt was like that, just absolute beauty.
The other thing that he was really good at was subtle foreshadowing across lots and lots of books. And it's not something I'd ever had to do before, unless you count my hidden epic, and I had never had to try and approach that level of subtlety, and it was a real challenge to try and catch all of those balls that he'd tossed in the air and he'd been keeping juggling. In fact, I would say, one of the most challenging parts, if not the most challenging part of this, was to keep track of all those subplots and make sure that I was not dropping too many of those balls. And you'll be able to see when you read the books which of those subplots were really important to me as a fan and which ones I was not as interested in, because some of those, I catch less deftly than others, and some of them I just snatch from the air and slam into this awesome sequence, and some of them I say, "Yeah, that's there."
And that's the danger of having a fan that does this. There were so many of those things. Fortunately, he left some good notes on a lot of them, and in some of them I was able to just slide in his scenes, and in others I had to decide how to catch that, and what to best do with it. But there's just so much. So much undercurrent going on through the whole books, through all of them, and so many little details in the notes that it's easy to get overwhelmed by it. Fortunately I have Team Jordan, Maria and Alan, to catch a lot of those things that I miss, but even with them there are things he was doing, that we don't even know what he was planning to do, that we just have to leave as is, and let it lie rather than trying to wrap it up poorly, because we don't know how he was doing to do it.
It was very interesting to read this while trying to figure out what scenes she was referring to...
I know you're incredibly busy on Stormlight 2, but if you have a few minutes, I would love to hear how you approached the notes that RJ left behind. I've heard the story about the ending and who killed Asmodean when you first visited Harriet's house, but where did you go from there? I assume you didn't just read all of the notes straight through...
Well, okay, this is going to be kind of long.
To understand my next step, you have to understand what we mean by "Notes." There are really three groups of these.
1) Robert Jordan's Worldbuilding Notes. These were in a series of dozens, maybe hundreds of files embedded chaotically inside of files inside of files, using his own system of notation. The notes reach all the way back to early books he was working on, as he was working on them. They aren't intended to be read by anyone other than him, and are sometimes very difficult to figure out. This is the group that Harriet has said, in her estimation, include a total wordcount equal to or greater to that of the published series.
2) The notes for the last book, gathered by his assistants Maria and Alan, with Harriet's help. These are far more focused on the last book, notes that RJ wrote specifically focusing on the last book. This is a much more manageable amount, maybe fifty or a hundred pages. It includes interviews that Alan and Maria did with RJ before he died, asking him what was to happen to certain characters.
3) Scenes for the last book, either in written form or dictated during his last months. This includes some completed scenes. (The last sequence in the book, for example. Also a lot of prologue material, including the scene with the farmer in The Gathering Storm, the Borderlander Tower scene in Towers of Midnight, and the Isam prologue scene from A Memory of Light.) A lot of these are fragments of scenes, a paragraph here and there, or a page of material that he expected to be expanded to a full chapter. This is different from #2 to me in that these are direct scene constructions, rather than "notes" explaining what was to happen.
Together, #2 and #3 are about 200 pages. That is what I read the night I visited Harriet, and that is what I used to construct my outline.
I took all of the items, but particularly the things in 2&3, and then I re-read the series start to finish, taking notes on character motivations, plots that had not been resolved, and foreshadowing. I used this to create a skeleton, using character touchstones from the notes (like Egwene's climactic moments in The Gathering Storm) to construct plot cycles.
Where there were big holes, I used my instincts as a writer and my re-read to develop what the story needed. From there, I started writing in viewpoint clusters. I would take character who were in the same area, and write their story for a chunk of time straight through. Then I would go back and do the same for another group of characters.
Tactical use of gateways is honestly all me. I hadn't even played Portal before I wrote these books. I have since went back and played it, and they're doing some of the same fun stuff. That was me from years and years ago as a guy who likes magic systems reading the Wheel of Time books and saying, "If I had gateways, this is what I would do." In fact, I had built up some magic systems using things like gateways that I will never be able to use now, because I got handed the master magic system with gateways.
Team Jordan was somewhat uncomfortable with my use of gateways, in a lot of ways. They felt I was pushing them. But my response back was that I didn't want to push the magic system in other ways; I didn't want to be inventing a lot of new weaves. I didn't want to be doing a lot of things like that, because I felt it would be taking the system too much in the directions I take the Brandon Sanderson systems. I really do like Robert Jordan's magic system, but I wanted to take some of the specifics that had already been done, such as gateways, and say, "Here's where you can extrapolate with them."
As for other things that have been discussed in the fandom—I certainly wasn't as big a part of the fandom as I am now, not anywhere near it. For instance, I didn't care about Asmodean until I started talking to other Wheel of Time fans, and it was a big deal to them, and so it became a big deal to me. There are certain things that through fandom and talking to other fans you tend to rally around, that I kind of wanted. One was a reunion between Tam and Rand. There are other things like that, that for a long time we'd been waiting for and we'd talked to each other about, and we'd imagined what they'd be like. Those sorts of things did influence me; I had to be really careful not to be too influenced though. Being too influenced would lead me to put in lots of inside jokes, things like Narg—that would have been letting the fan in me run too wild. So I did have to rein that in.
It’s hard for me to separate the years of talking about the Wheel of Time with friends and reading about the Wheel of Time from what I eventually ended up doing in the books. Once I did start working on the books, I didn't go plumbing through fan forums looking for things that should be included. I specifically stayed away from things like that, though I did suggest to Maria at times that she should watch and see what people were expecting, so that we would know what things we were not going to end up fulfilling, and could be prepared for them.
A lot of people are asking what it feels like to be done. That's an odd question to consider for a couple of reasons. In some ways, the Wheel of Time was "done" for me when I read Robert Jordan's last scene back in 2007. The work wasn't done, of course, and I had a very long road ahead of me. And yet, I'd read the ending. We managed to get it into the final book virtually unchanged, with only a few minor tweaks here and there. The sequence (it is more than one scene) that I am referring to most of the time when I talk about this encompasses the entire epilogue of A Memory of Light. Once you get there, you can know you're reading Robert Jordan's words, though of course there are other scenes scattered through the book that he worked on too.
So that was one ending, for me. Another came in January of last year, when I finished the rough draft of this book. Still, there was a great deal of work to do, but I was "done" after a fashion. From there, I transitioned from writing a new Wheel of Time book to doing revisions—and for the last time ever.
Another ending came for me when I handed the book over to Maria from Team Jordan to handle all of the final tweaks from the proofreads and copyedits. That happened late last summer, and with some regret, I stepped away from the Wheel of Time. Like a parent (though a step-parent in this case) waving farewell to a child as they leave the home, I no longer had responsibility for this book in the same way. I was done.
And yet, I wasn't. This month and next I'll be touring for the Wheel of Time. That will probably be the final ending, seeing all of you and sharing in your mixed joy and regret at the finale of this series. Over twenty-three years ago now, I picked up The Eye of the World for the first time, and my life changed. A lot of you have similar stories.
I know how you feel. I've been feeling it for five years now, ever since I read that last scene. There is no glossary in this last Wheel of Time book. We wanted to leave you with the memory of that scene, as Robert Jordan wrote it, for your final impression of the Wheel of Time.
I'm happy I can finally share that scene with you. After five years of waiting, I can talk about it with others and reminisce without having to worry about what I'm spoiling. I hope to chat with as many of you as possible in the upcoming months. For those who can't make it, I'll post some responses to frequently asked questions below.
May you always find water and shade.
January 8th, 2013
How do you keep track of all those characters?
Lots of use of online resources. Also, Maria and Alan are invaluable assets for that. Brandon told a funny story about trying to figure out who was with Perrin, and Maria pulled out some notes from Robert Jordan that had a list of every single person from the Two Rivers that came with Perrin! Brandon also said he thinks there are more than 2800 named characters throughout the entire series.
Couple of the questions asked that I can remember:
I asked about the graphic novels, because I wasn't sure how far that project was going to go/how well-received it was for Harriet, but she seemed pleased enough with them. She said that there was a good team of people working on them and that they were working closely with Maria and Team Jordan.
(Brandon took a moment to point out that the bookstore also carried the graphic novels, and someone at the back found one on a shelf and held it up for demonstration.)
How does it feel now that you are done with the series?
Bittersweet. Has been reading the series longer than he has had some friends!
It was truly done well.
Bittersweet. And wow!
There are, what? What are we up to, like 2800 named characters in the Wheel of Time? [laughter] It's more than two thousand; it was more than two thousand when I started, and it was like 2400 or something like that when I started, and I've added a few. So, how can we keep track of all of these characters? That actually is when people ask me, what the hardest part about this was, I often say that that was the hardest part. It's not just keeping track of them, because actually keeping track of them is somewhat easy; there's lots of fan resources, which I use. The Encyclopaedia-WoT is my favorite, though tarvalon.net runs a very nice Wiki which goes more in-depth and things. And keeping track—that's the easy part. The harder part is, Robert Jordan gave them all voices, right? Everybody talked in their own way, and was their own person, and when, you know, Perrin is traveling with like three random Wise Ones, they're all individual personalities, and so before I could write a scene, I had to go back and remind myself, how each of these three people...what their attitudes were, and how they spoke, that sort of thing. It was very difficult.
I don't know if you—I mean, I tell this story; I don't know if you guys have heard this before—but the level of detail Robert Jordan went into in the worldbuilding...there was one point where I was working on Towers of Midnight, and I sent an email to Maria saying, "I can't keep track of who is with Perrin. Do you have just a list somewhere?" And I was really just meaning the Wise Ones, right? And, you know, named characters. Maria comes back and says, "Well I just dug this out of the notes; I hadn't seen it before. Maybe this will help. It's a file called 'With Perrin'". I went, "Oh, good." And I opened it up...no, that's not what it is; it is the names of all the Two Rivers folk who haven't been named in the books yet. [laughter] ...who are traveling with Perrin, and often a little bit about each of them, and a list of several dozen names of people who haven't been named yet. That's the level of detail we're talking about with this, and it was a challenge; it was a challenge on all of us.
Fortunately, we did have Maria and Alan, who we should mention—Alan Romanczuk, who is also one of the assistants and very good at this sort of thing, and I would focus my writing, particularly in first draft, on just getting the emotional content of a scene down, right? Get the narrative flow down, make sure it's working, and I would try to get all the voices of the characters right, but I wouldn't worry as much about continuity. I would then send it to Maria, and she would send back this thing with all of these notes saying, "Oh Brandon. Oh Brandon, you can't do this." "Oh Brandon, you killed her." "Oh Brandon..." You know, stuff like that. You see her shaking her head over each of these things. And then we would try and fix all of the problems caused by that, and that's kind of how it went.
Not specifically against his wishes. If it was in the notes, talking about a character...one of our first requirements, and I put it on myself on this, was to avoid going in different a direction from Robert Jordan with anything, specifically because I didn't want these books to become about me. I wanted them to remain the Wheel of Time. Now, I had to be nudged by Harriet at several points early on. She would tell me, you have to change some of these things. You do have to be willing to write the book as it needs to be written; Robert Jordan wouldn't have stuck to this outline exactly, and if you did stick to it exactly, it would feel like it doesn't have any life to it.
And so, there are times, when I was working, and mostly these are plot things—I would say, "You know what, we need to change this." An example of this is in The Gathering Storm, there's a scene—it's not too bad; it's not a big spoiler [laughter]—but there are several scenes where Egwene is having dinner with the Amyrlin. Well, that was originally in Robert Jordan's notes as one scene, and I split it to two scenes, where there's a dinner, it breaks, and then we come back, and I put some things in between because with the narrative flow of that sequence, it felt more powerful for me to work with it that way. I didn't remove any of the things that Robert Jordan said to have happen, and used several of his scenes that he'd written to construct those, but in that case, I felt that moving it around like that made for a better book. And so that's the sort of thing I would change.
I will say that, early on, when I first met with them, I did say, "I would like to have a character that I can just kind of do whatever I want with," so that I have, you know...it was kind of, maybe hubristic of me or whatever—I wanted to do that, I'm like, "Can I have one to play with? I want an Asha'man to play with." And it was actually Maria who suggested Androl, and said "Go look at him; there's not a lot written about him. The personality, Robert Jordan doesn't have much written down for who he is, and he seems like he's well-poised to do this. That would be a very good one." So Androl, almost everything that's happening with him, Robert Jordan didn't say "Do it with him." There are things I have him doing that Robert Jordan said, in this notes, "This has to happen." But I specifically took Androl as a character and went places with him.
Hello! Y'all are going to make me cry! I put my shoes on one foot at a time, just the way you do. [laughter] Thank you very much for that incredibly warm welcome.
Next here is Maria Simons, Harriet's executive assistant, and probably the person who knows the Wheel of Time better than any of you. [laughter, applause, cheers]
Hello. Great to see you all.
I'm going to skip over the next guest; we'll come back to him. [laughter] Matt Hatch, the webmaster of Theoryland.com [applause, cheers] And Peter Ahlstrom, Brandon's assistant, and also someone who knows these books inside and out. [applause, cheers] Last, but not least, of course, we have Brandon Sanderson. [applause, cheers, standing ovation]
So we're going to begin here with something very special for you. Harriet is going to read from A Memory of Light, something that has not yet been put out in any of the various previews online or anything, so assuming you haven't read the book yet, this should be something new and special for you. Here's Harriet.
This is why I've had my nose in this book, is checking out what I plan to read.
Read the ending! [laughter]
You wish! This is from chapter nine. [snip Rand POV] [applause]
I wanted to tell y'all a little about Waygate Foundation. When you get your book, on the back flap there's a list of websites—Dragonmount, Theoryland, a few others—Waygate's a new one. Waygate is a non-profit that has started to bring together authors and fans of science fiction and fantasy to [?] charitable efforts. Harriet is on the board; Brandon is on the board; I'm on the board; Wilson Grooms is on the board; Jason is on the advisory council.
We're trying to put together a significant effort to raise money for good charities throughout the world, and right now Waygate is running a campaign; they're trying to raise ten thousand dollars to benefit Waygate and Worldbuilders, and if they raise ten thousand dollars, they will reveal a peek at the Encyclopedia, which will be forthcoming from us. I selected the material, and I tried to make it really good. [laughter]
Waygate is starting an Encyclopedia Question and Answer with me and Alan and herself, and they are collecting questions on their Facebook page starting...this evening! [laughter] So if you check out Waygate, you can find them there, and if you have any questions about the Encyclopedia, you can ask them there, and they will be picking and choosing, you know, the questions that are really good, or that the most people have, and we will do our best to answer them while we're working on the Encyclopedia, because that's already underway. Thanks. [applause]
Thank you. [applause] Thank you for wanting it. [laughter]
Two things. If circumstances had been different, would Robert Jordan and Brandon Sanderson get along, and would they be friends? [laughter] And second, with this...now that it's all written, as he looks down, is he proud? What would his thoughts be tonight?
Oh, I think he'd be proud. I think he'd be proud, and I do think he and Brandon would have gotten along. [laughter]
One thing that was really strange...the first time Brandon came to Harriet and Jim's house, we were...when Jim was still alive, on Fridays we would order out from a restaurant and sit down and talk and everything, and so Brandon came. We ordered from one of the same restaurants. He ordered what Jim ordered, without any hints or anything. He sat in Jim's seat. It was kinda like, "Wow, this is kinda cool!" [laughter] It felt like it was meant to be.
Harriet tells a story—at least on the Gathering Storm tour, someone asked a question like that—and she said...(to Harriet) back then you said...she thought he was probably up there and looking down and saying, "Who is that kid?" And then kind of nodding and saying, "Yeah, it turned out alright." [laughter]
I think he's definitely saying that now.
Hi. I'm Zach [?], and I'm from here in Orem, and I kind of feel like a child with all these people that have read it for so long. I'm pretty new to the series—just a couple of years—but I love it just as much. And I'm really grateful you guys brought your assistants with you as well, because I know, with the creative writing process and writing, it takes a lot more than just one person.
And so I was wondering, probably more directed to Brandon, how did you keep everything together? How did you encompass everything... [laughter] Just a little idea; I just wanted to know a little bit about how you kept up with everything.
It's interesting. I am somewhat absentminded in a lot of things in my life, but I don't forget stories. Stories stay in my head, and perhaps that's why I forget everything else. [laughter] I can remember stories that I was planning to tell twenty years ago, and I've still got the details in my head, and I'm ready to write it at some point; I just haven't gotten around to it.
That said, a lot of the minutiae that isn't part of the soul of the story to me—it's very important, but it isn't part of the soul of the story—and that sort of thing, I do need to keep track of, and so recently we've been using the Wiki, and the Wiki has worked really well; that's for my own books. For the Wheel of Time, I just let other people make the Wikis, and I use theirs. [laughter] So the Encyclopaedia-WoT—Bob Kluttz, and Encyclopaedia-WoT—and if there's anyone here from Tar Valon who worked on their Wiki, the Tar Valon Wiki is fantastic, and I really liked the Tar Valon Wiki. And so, those were two things that I used for the simple questions, the questions they couldn't answer. Maria was like our version of the Brown Ajah that has been gathering all sorts of things and getting them ready for us whenever we have requests about them and whatnot, so it's been very useful.
She doesn't have a live owl on her desk, but she does have a large plastic iguana that has a cigarette in its mouth. [laughter]
And I have two beautiful brown shawls proving I am of the Brown Ajah. [cheers, applause]
My name is Kevin [?] from Orem, Utah. My question is mostly directed at Harriet, but also anybody else on the panel who wants to jump in here.
One of the things I love about the books is that there's so many characters, and there are moments where like, each of the characters has their ups and downs, and there's chapters where like, "Man, Perrin is on fire," or "Mat is the greatest!" But if you could hang out with any character from this universe, you know—even disregarding what we know about Mat's similarities with Robert Jordan now—but if you could hang out with any character, who would it be?
And then also, for Harriet and Maria, if you could be any Ajah in the White Tower, which would you pick?
Well, Maria and I have different fancies about the male characters. [laughter] She fancies herself...she fancies some Mat. Big time. [laughter] And I, on the other hand, have always been stuck by the numerous ways in which Robert Jordan resembles Perrin. Very large, as a former lineman for Clemson University would-be, and hairy, and very gentle, and I just...anyway, I think it'd be Perrin. And I'm torn between the Blue and the Brown. I think mostly Blue.
And I am so Brown. [laughter]
Actually, on one of these last book tours, Brandon looked at this thing I'm wearing around my neck, because this is a nice, non-losable thing to put on some color. [It resembles an Amyrlin's stole, narrow and tied in a knot.] And he said, "Oh..." looking at the stripes, "Orange. My favorite Ajah." [laughter]
I feel very satisfied that it’s complete; very sad that it is another occasion for me to say ‘goodbye’ to Robert Jordan. The last five years have been one goodbye after another, and none of them are easy. But I knew that he wanted the series finished, and it's done, and that's very satisfying, and also very sad. So it's sad, happy, bitter, sweet—a whole mix. It goes in and out of these things.
There is still an Encyclopedia for me to do with Maria Simons and Alan Romanczuk; Maria worked with my husband, and now with me, for seventeen years, and Alan has been around for twelve, so they know the material very well and have been...I started the material that will be the Encyclopedia back with The Eye of the World, writing down proper nouns. Then it got to be The Great Hunt, and I said, "Oh Lord." [laughter] You get pages of the Aiel: who are in which sept, who are in which warrior society, who is married to whom—the whole thing. I think y'all will like it, and we will be turning it in perhaps some time next year...I mean this year. We're in '13 already. By its nature it couldn't be done until the series was complete. It may amuse you to know that in the contract it says it will be delivered in 2008. [laughter]
Well, it's in work, and mostly Maria Simons has been working with the Dabel Brothers, who have been a joy to work with editorially. There have been some problems about the schedule, but their devotion to the work is really just what we want to see.
They're famously wonderful artists, and not so good on the business front.
And I've seen a French edition of a piece of The Eye of the World, and to see Mat talking French, and saying, "Ah, zut alors!"
Hey, that's a nice thing. Way in the back there, they have some of the graphic novels for sale!
What a coincidence!
Yeah, what a coincidence. Ooh, someone's holding them right back there, the thing back there; you can go get some of the graphic novels, you can go through those....
Yeah, and there's one in the front here.
The answer is a complicated one dealing with the creative process. One part of the answer is I had a lot longer to get ready for it than you did. In fact, I was building the outline from this out of Robert Jordan's notes.
We talked about the notes. I was handed two things by way of notes. One was a stack of 200 pages. And this is the writing Robert Jordan did for the last book, and including the Q&As he did with his assistants, where they would say, "Okay what's going to happen with this character?" And he would talk about it for a page or so, and they would actually just record that, and then they transcribed it for me. And so that's what those 200 pages were. And then there was a CD with all of this five million words of other stuff, which I would spend my time reading, but which would have taken me years and years and years to read through all the way. And so fortunately I had Maria and Alan working on that. It was real interesting because a lot of this is stuff like 'Chronology of events for Book 5', which there had been a lot of things like that, and then there'll be hidden little tidbits in there.
But anyway, I was building the outline by rereading the series, taking the 200 pages—because we knew those were the scenes that he wanted in the book—and out of those two things I build the outline for the 800,000 word novel that I was planning. (laughter) So I used that. And I got very—I got time to come to grips with what was going to happen in a lot of the books. I had years to come to grips with it. It doesn't mean it wasn't an emotional time when I wrote it. We don't talk a lot—intentionally—we don't talk a lot about what was Robert Jordan and what was me. We don't talk a lot about where he decided characters needed to go, and where I decided characters needed to go, and where Harriet decided on occasion. But there were some long phone calls, where I would call and say, "This needs to happen. This is going to be really painful, but this is what the book needs." And we would talk it over and decide how to work it in and where it would go and how it would come about. Some of those conversations were tear-jerkers, but the Last Battle doesn't happen without some tear-jerking moments.
But beyond that, of course, the idea that it was all coming to an end, right? That this was years and years and years of effort, and years and years and years of reading, coming to an end. And that was emotional in and of itself. So, I've now had six or seven months. It finished for me July/August-ish when I handed off the document to Maria, and she took over the copy edit, and the continuity—you know, tweaking little continuity things. From there on, I couldn't change anything—I could write to her and have her change things. That's when the book was done, to me. And I've had all that time to get used that idea, also, of the book being done. And so, yes it was emotional, but I had so much more time to deal with it than you did.
Who was the most challenging WoT character to write?
Mat was the most challenging, the second most was Aviendha. He explains that it is hard to write about someone so different than yourself and the Aiel culture seemed the most unique in the series. Of Rand's three women, Aviendha is Brandon's favorite. He recalls that after writing his first Aviendha scene, Harriet read it and then told him that it was a "picture perfect Elayne." Brandon went on to discuss how he has to write his way into his characters. Vin, in Mistborn, was originally a boy. Lots of his early work on The Gathering Storm was scrapped by Harriet because Brandon wasn't "there yet" with the characters.
He then goes on to discuss the volume of notes left by Robert Jordan. There are about 200 pages for A Memory of Light and then there is roughly 32,000 pages of other notes for the series, three times as large as the entire series put together. Brandon tells of how he tried to open it once and it crashed his computer because the file was so large. He also wants to commend the enormous efforts of Alan and Maria for their help in managing all of the details of the series.
This is an interesting one for a multitude of reasons. I actually worked under the assumption that whoever blew the Horn would control the Heroes, going so far as to write several sequences in the last book referencing that to heighten tension that if the Horn were indeed captured things would go VERY poorly for the Light.
I was quite surprised, then, when Harriet wrote back to me on the manuscript quite energetically crossing out these lines and explaining that the Heroes could not ever follow the Shadow. I called and asked for confirmation and clarification, pointing out that it seemed otherwise from the text and from fandom interpretation. She explained that this was one of Jim's ruses, that the characters in book were wrong and repeating bad information, and that Jim had been very clear with her that it was not the case. I can only guess that these reports in fandom were cases where people asked Jim a question he could Aes Sedai his way out of, and something got muddled in the communication or the reporting somehow.
(Feel free to follow up with Harriet and Maria on this one, if you want more. Honestly, I was surprised, and it was something we had quite a dialogue on as I worked on the final book. I fought longer than I probably should for the "Shadow can use the Horn" theory.)
I really can't add anything here. I thought I was led to believe (as opposed to coming up with it myself) that the Heroes really wouldn't follow the Horn if it were blown by Team Dark, but I cannot swear to that. I was unaware of the rift answer. Of course, it's possible that the Heroes themselves don't know the correct answer; they're Heroes, after all, and unless there's some Hero orientation meeting where they are filled in on all the details, they may just assume that they're always going to be Heroes, as in champions of goodness and Light.
Thanks again to everyone who submitted questions for our Team Jordan Q&A during the A Memory of Light tour. We were excited to see the questions, and even more excited to share the answers!
This sneak peek into the future content of the Wheel of Time Encyclopedia is brought to you by Team Jordan in support of our "A Story Begins" campaign benefiting Patrick Rothfuss' Worldbuilders charity. To help us reach our goal and release a full page of the future encyclopedia, please consider contributing a donation using the "Support" form on the right!
Warning—a lot of these answers contain SPOILERS. Read at your own risk! Each answer has been supplied by Team Jordan, and was written by Maria Simons, continuity editor of the Wheel of Time. Maria and the Team have been very generous with their time, and will provide as many answers as they can.
Yeah. Because a lot of people thought it was Lanfear, and RJ said it was Fain.
So I guess you don't know the answer to that question. (repeats self) ...and that kind of blew everyone's theories out of the water...
Yeah, because I thought it was Lanfear.
So there I was, sitting beside Robert Jordan's computer, looking at printouts of his notes, and feeling supremely overwhelmed. You might wonder what was in those notes. Well, in preparing to write this piece, I went to Harriet and (as I'd often promised fans) asked if it would be possible to release the notes, or to at least speak specifically about their contents. (I still someday want to do a series of blog posts where I take scenes from the notes, then compare them to scenes in the finished books, with a commentary on why I made the decisions to change them that I did.)
In response to my question, Harriet pointed out that work on the encyclopedia of the Wheel of Time is still in progress. She and Team Jordan haven't yet finished deciding what tidbits from the notes they want to include in the encyclopedia, and she thinks now is not the time to release them. (Or even for me to talk about specifics.)
Therefore, I can't talk about many specific scenes. Instead, then, I want to talk about the general process—which might be of more interest to many of you. You see, as I've explained before, the "notes" aren't what people assume. I was handed two hundred pages of material by Harriet, and this is what I read that first night. Those pages included:
Written sections by Robert Jordan: Robert Jordan was a "discovery"-type writer, meaning he tended to explore where he wanted his story to go by doing the actual writing. He didn't work from an outline. Harriet has explained that he had a few goalposts he was aiming for, big events he knew would happen somewhere in the story. He didn't know exactly how those would play out until he wrote them, but he knew what they were. Otherwise, he would write and explore, working his way toward his goalposts and discovering many parts of his story as he worked.
Robert Jordan was also not a linear writer. From what I can judge by the notes, he was one of the relatively more rare breed of writers who work on a scene as it interests them, no matter where it may be in the story. It seems like he'd often dig out a file and write a short time on it, then stick that file back into the notes. The next day, he'd work on a different place in the story. It's possible that as he started work on a book in earnest, however, he progressed in a more linear fashion. The largest chunk of actual writing he left behind was for the prologue of A Memory of Light, after all.
However, from what Harriet has told me, he did not show his notes to people, nor did he show them early drafts. Even Harriet often wouldn't get to see early drafts—she says what he gave her was often draft twelve or thirteen.
In the stack of notes I was given were all of the scenes he'd actually written for A Memory of Light. Together, these were about a hundred pages. I can't tell you everything that was in there, not yet. I can speak about the things I've said before, however. One thing in these notes was the ending. (This became the epilogue of A Memory of Light, though I did add a couple of scenes to it.) Another was his unfinished prologue. (I split this into three chunks to become the prologues for the three books, though I did add quite a few scenes to these prologues as well. Scenes he'd finished, mostly finished, or had a loose first draft of include: the farmer watching the clouds approach in The Gathering Storm, the scene with Rand seen through the eyes of a sul'dam from the prologue of The Gathering Storm, the scene with the Borderlanders on the top of the tower in Towers of Midnight, and the scene with Isam in the Blight at the start of A Memory of Light.)
Also included in this stack of scenes were a smattering of fragments, including the scene where Egwene gets a special visitor in The Gathering Storm. (Dress colors are discussed.) The scene in Towers of Midnight where two people get engaged. (The one that ends with a character finding a pot in the river—which is a piece I added.) And the scene at the Field of Merrilor inside the tent where someone unexpected arrives. (Much of that sequence was outlined in rough form.) I've tried to be vague as to not give spoilers.
Q&A sessions with Robert Jordan's assistants: Near the end, Mr. Jordan was too weak to work on the book directly—but he would do sessions with Maria, Alan, Harriet, or Wilson where he'd tell them about the book. They recorded some of these, and then transcribed them for me. Most of these focus on someone asking him, "What happens to so-and-so." He'd then talk about their place in the ending, and what happened to them after the last book. A lot of these focus on major plot structures. ("So tell me again what happens when Siuan sneaks into the White Tower to try to find Egwene.") Or, they focus on the climax of the final book. The bulk of this information gave me a general feeling for the ending itself, and a read on where people ended up after the books. A lot of the "How do they get from the end of Knife of Dreams to the climax of A Memory of Light?" wasn't discussed.
Selections from Robert Jordan's notes: As I've mentioned before, Robert Jordan's larger notes files are huge and have a haphazard organization. These are different from the notes I was given—the two hundred-page stack. My stack included the pages that Team Jordan thought most important to the writing of the book. They did also give me a CD, however, with everything on it—thousands and thousands of pages of materials.
Though you might be salivating over these, the bulk are not things many of you would find interesting. Each version of the glossaries is included, for example, so Mr. Jordan knew what they'd said about given characters in given books. (These are identical to the ones printed in the backs of the books.) There are notes for many of the books, things Mr. Jordan used while writing a given novel in the series, but much of this ended up in the books and would not offer any revelations to you. There is, however, a great deal of interesting worldbuilding, some of which ended up in the books—but there's also quite a bit here that will probably end up in the encyclopedia. There were also notes files on given characters, with the viewings/prophesies/etc. about them that needed to be fulfilled, along with notes on their attitude, things they needed to accomplish yet in the series, and sometimes background tidbits about their lives.
Maria and Alan had spent months meticulously combing through the notes and pulling out anything they thought I might need. This was the last chunk of my two hundred pages of notes, though I was free to spend time combing through the larger grouping of files—and I did this quite a bit.
To be continued.
At this point, I sat down with Team Jordan. In case you don't know the members of this group it includes:
Harriet: Robert Jordan's editor and widow. She discovered him as an aspiring writer in Charleston after moving there to raise her son from a previous marriage. (She didn't think NYC was the place to do it, and she had inherited the family home in Charleston.) She was encouraged by Robert Jordan's writing and started publishing his historical novels (she still worked for Tor, but telecommuted). Eventually they fell in love and were married. She edited all of the Wheel of Time books, as well as doing some other things. (For example, she is responsible for nearly all of the chapter titles in all of the books.)
Maria: Maria was hired on somewhere around book seven, I believe. At first, her work seemed to be more clerical—but over time, she impressed Robert Jordan and Harriet, and moved into a more editorial position. She'd maintain continuity for him, as well as work on his copyedits. These days, she is also in charge of making certain things like the Wheel of Time graphic novels are following the storyline and descriptions in the right way.
Alan: Alan came on later than Maria, but has still been there for years and years by this point. He helps with office work and is the resident timeline king. He also is a military history buff, and knows warfare quite well. He became my "Great Captain" for the last books. (Though he and I did butt heads quite a bit as I pushed for more drama and he pushed for more specific descriptions of tactics.)
Wilson: I don't know if he'd agree he was part of Team Jordan or not, but I view him as part. Wilson is Robert Jordan's cousin and close friend growing up—the cousin that was like a brother. Jovial and welcoming, he recently dressed up in a costume of me for a costume contest. He's been a cheerleader for Jim's work for years, and every time I felt daunted by this project, it seems I'd get a little note of encouragement or help from Wilson.
During this second Charleston visit, I sat down with Alan, Maria, and Harriet to outline my thoughts on where the last books should go. I asked for big sheets of butcher paper, and upon this I started writing down characters, plots, goals, and sequences as headings. Then, we brainstormed answers to holes. I often presented my (somewhat daring) plans for sequences Robert Jordan had not outlined. I think a lot of the things I suggested were surprising to Team Jordan—and made them worried.
My argument was this, however: Robert Jordan would not have kept the last book stale. He wouldn't have done everything as expected. He wouldn't have flatlined the character arcs, he wouldn't have stopped the worldbuilding. If we played this book safe, we'd end up with a bland climax to the series. Harriet agreed, and told me to proceed with some of these plans—but with the warning that as editor, she would read and see if I pulled off the sequences. If I did, they'd go in the books. If I didn't, we'd remove them.
This ended up working really well. It allowed me to exercise artistic freedom, driving the books in directions I felt they needed to go without limitations. Granted, I had a personal rule—I didn't contradict Robert Jordan's previous books, and if he had finished a scene in the notes, we were going to use it.
This might make it sound like I was trying to steer the books away from his vision. Nothing is further from the truth. In rereading his series, in getting close to his notes, I felt like I had a vision for the types of emotional beats Robert Jordan was striving for in the last book. These emotional beats required surprises, revelations, and transformations—I felt like I truly had the pulse of this series. My goal was to fulfill his vision. However, in order to do this, I needed to exercise my artistic muscles, as he would have exercised his own. I had to allow the creative writer in me to create, to tell stories.
It meant approaching these books as a writer, not a ghostwriter. Harriet understood this; she hired me rather than a ghostwriter because we had notes and fragments of scenes—not an almost-completed novel. However, she was also very right to tell me that she would act as a stabilizing force. Letting my creativity out of its proverbial Pandora's box meant walking a dangerous line, with things that were too "Brandon" potentially consuming the series. I didn't want to let this happen, and Harriet was the failsafe.
This is why some sequences, like the "River of Souls" sequence that became part of the Unfettered anthology, needed to be deleted from the books. It's not the only one. Others include a sequence where Perrin went into the Ways.
During the process of writing these books, all members of Team Jordan offered commentary on every aspect—but a certain specialization fell out naturally. Harriet did line edits and focused on character voice. (She famously told me, regarding one of my very early Aviendha scenes, "Brandon, you've written an almost perfect Elayne." It took me a few more tries to get that one right.) Maria would watch for continuity with other books. Alan would pin me down on timeline, troop movements, and tactics.
To be continued.
The Gathering Storm: What did I learn?
The obvious thing I learned has to do with juggling so many side plots. I'd attempted this level of complexity one time before in my life, the first draft of The Way of Kings. (Written in 2002–2003, this was very different from the version I published in 2010, which was rebuilt from the ground up and written from page one a second time.) The book had major problems, and I felt at the time they came from inexpert juggling of its multitude of viewpoints. I've since advised new writers that this is a potential trap—adding complexity by way of many viewpoints, when the book may not need it. Many great epics we love in the genre (The Wheel of Time and A Song of Ice and Fire included) start with a small group of characters, many in the same location, before splitting into much larger experiences with expansive numbers of viewpoints.
I couldn't afford to be bad at this any longer. Fortunately, finishing the Mistborn trilogy had taught me a lot about juggling viewpoints. Approaching The Wheel of Time, I was better able to divide viewpoints, arrange them in a novel, and keep them in narrative rhythm with one another—so they complemented one another, rather than distracting or confusing the reader.
The other primary thing I feel I gained working on this book is a better understanding of my outlining process. Robert Jordan, as I said in previous installments, seems to have been more of a discovery writer than an outline writer—I'm the opposite. Working with The Gathering Storm forced me to take all of these notes and fragments of scenes and build a cohesive story from them. It worked surprisingly well. Somehow, my own process melded perfectly with the challenge of building a book from all of these parts. (That's not to say that the book itself was perfect—just that my process adapted very naturally to the challenge of outlining these novels.)
There are a lot of little things. Harriet's careful line edits taught me to be more specific in my word choice. The invaluable contributions of Alan and Maria taught me the importance of having assistants to help with projects this large, and showed me how to make the best use of that help. (It was something I started out bad at doing—my first few requests of Alan and Maria were to collect things I never ended up needing, for example.) I gained a new awe for the passion of Wheel of Time fandom, and feel I grew to understand them—particularly the very enthusiastic fans—a little better. This, in turn, has informed my interactions with my own readers.
I also learned that the way I do characters (which is the one part of the process I do more like a discovery writer) can betray me. As evidenced below.
When I launched into this book, I'd just finished Towers of Midnight and was in a very "Perrin is awesome" mood. I wanted to keep writing Perrin, so I did his sequence for the book first. It worked, to an extent. I love the Perrin parts of this book. However, by the end—and after finishing the other viewpoints—we found that the book had way too much Perrin in it. Cutting the sequence where Perrin travels through the Ways to try to close the Caemlyn Waygate from behind was one method of balancing this out. The sequence was also cut because Harriet felt I'd gone too far in the direction of returning to previous themes in the series, bringing back something better left alone so we could focus on the Last Battle. (In addition, Maria thought my descriptions of the Ways just didn't fit the story.)
This was a 17,000-word sequence (and it ended with the Ogier rescuing Perrin and his company from the Black Wind, driving it off with their song). I love the sequence, but unlike the sequence with Bao (the deleted scenes named "River of Souls" and included in the Unfettered anthology) it is not canon. It couldn't happen for a multitude of reasons, and got trimmed.
Otherwise, Perrin ended up as I wanted him. A lot of people were surprised that I knocked him out of the fighting for a big chunk of the Last Battle, but I felt it appropriate. The fighting armies were Mat's show, and Perrin's focus for the fighting was to join Rand and protect him in the Wolf Dream. There was so much else going on, I decided to bench him for a chunk of the warfare—and I'm pleased with the result. It brought real impact to the Slayer fight, where Perrin was left wounded.
Jordan tried to protect Maria from spoilers in the work he had her do for him. She eventually persuaded him she could handle them. Almost the first thing he then gave her was Verin's full backstory. This was somewhere around the time Path of Daggers came out.
The oddest research request was Jordan asking how babies feel when they are born. This was eventually used in the bonding scene in Winter's Heart.