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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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Apr 7th, 2001
Verbatim
Arcen, NL
Elf Fantasy Fair
Aan'allein
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Ah, but you're not gonna have that sort of switch. In this Age, how can you have a switch? One of the things for instance in the Age that I wrote. One of the things...For instance, I've been accused by some people of ignoring the feminist struggle. Well, there is no feminist struggle in this world, because there is no need for one. No one says a woman can't do this because she is a woman. A woman wants to be a blacksmith, she can learn to be a blacksmith, and she becomes a blacksmith, or a merchant or a wagon driver, or a worker on the docks, or wherever else. All of that took place, took place a long time ago. And they're very good at it. That sets the whole reasons why this should come about. Three thousand years ago the world was destroyed, by men. There is one group that has survived for that three thousand years, one organization that has managed to stick together for three thousand years, and have a great influence on history, and that is a group of women.
Okay, so you just don't have, you just don't have it. To have a reversal of roles means... absolutely nothing.
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Uhm, no, there is no possibility that it will never end. I will wrap up all of the major storylines, I will wrap up some of the minor storylines. Other minor storylines will be left hanging, and I'm going to do worse than that. I am going to set a hook in the last scene of the last book, that will make some people who don't believe what I say, think that I am setting up a sequel. What I am doing, what I will be doing, is trying to leave you with a view of a world that is still alive. One hope that some fantasies have is that when you reach the end of the book, or you reach the end of the trilogy, all the characters' problems are solved. All of the things that they have been doing are neatly tied of in a bow, all of their world's problems have been solved. And there's no juice left, there's no life left. you think 'I ought to set this world on a shelf and put a bell-jar on top of it, to keep the dust off.
When I finish the Wheel of Time, I want to do it in such a way that you will think it's still out there somewhere, people still doing things. This story has been concluded, this set of stories has been concluded, but they're still alive.
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I don't really think that any of the major characters are very much like me, although there's some bits in Mat that remind me of me when I was younger.
Followed by the regular "I think of myself as Lan; my wife says I'm Loial."
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The Seanchan also are the melting of things that have come from many different human cultures to make their culture. There have been many rigid stratified, rigidly hierarchical cultures. It's a very human thing. The concept of being able to climb above your station is a relatively new one in human culture. You were born where you were born for a reason, and that is the place you will stay, that has been the norm for human culture, for most of history.
I mean, even the groups...the Whitecloaks are the people who know the truth. Not just truth, they know Truth, they know Veritas, they know Truth with a capital T, they're the Taliban, the Ku Klux Klan, they're the people who know the truth and you must believe their truth or they will kill you. but they're not the Taliban, they're not the Teutonic Knights, they're not the Ku Klux Klan. They are simply that concept.
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Well, the difficulty with the pictures was something that I did not discover until far too late, the artist who was hired to do the pictures... see, this was done by a packager. Someone who came to me, and done guides before, and came to me and said, "I would like to do this, and here is one I did for Marion Zimmer Bradley, and here's the one I did for Bob Silverberg, and here's the one I did for Jack Vance, and would you, you know..."
I said alright, this looks good, and I called up these people and they said that things went well, but my publisher...the artist was hired to do a certain number of black and white drawings. And as soon as this guy got the package together he went to my publisher, my ... who said yeah, I'd like to publish this. And my publisher said, "No, I'd like to have color drawings, not black and white, and you want to do x number of drawings, but I would like five times as many illustrations."
And that was all good, except that the artist contract...what I did not know was that the artist contract called for a flat fee. And the man who put the package together did not increase the amount of money that he was going to pay the artist. The artist was then asked to do five times as many drawings, in color, instead of in black and white for the same amount of money. His enthusiasm dwindled. [laughter] Now if I had known about this, I would have given the artist some money out of my own pocket, to get better pictures. I couldn't understand why the man who had sat in my study, and drawn such wonderful sketches just from my off-the-cuff descriptions, was suddenly making drawings that seemed very...not very good. But, that was the reason.
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A Japanese company contacted me about doing an animated movie. I told them no, because they wanted to do a movie based on two or three books, and I said, "no, I won't do that".
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I saw the computer game as a way to attract people to the books. That's why I agreed, when I was approached by gaming companies, who started wanting the rights. But I also wanted it to be something that was going to be decent. So when I signed the first contract, I made sure there was a particular clause in the contract. And they brought me the plans for the game, now, they'd showed me a couple of games that they'd done previously. When they brought in the plans for the game. What they had done with that was file away the numbers off the previous games, took the files' serial numbers off, and put some whiteout over the names, and blacked out the names for my book into the ... over their old games. And I said no. I don't like that. I would like you to do this, and this, and this. I would like this to be possible, and that to be possible. And they said, "well, we can't really do that." And I said, "well, ah I guess...well, there is this paragraph 24, subparagraph z, and I'm invoking that now, and here's a check, that's the money you gave me, goodbye."
...go away. Here, I'm giving you back the money, go away. So they were shocked. And they came to me and said, "look, no, we'd really like to do this, and we'll do the things that you'd like to do". Well, they did. Took them over two-and-a-half years. They had to sell their company to a bigger company to get the money to finance it, [laughter] but that was okay. And I liked the fact that one review said that they'd used the Unreal Engine better than Unreal did. I liked the fact that they were hired based on my game, the game based on my books, that they were hired to write the next Unreal game, the sequel to Unreal.
I like the fact that although the Unreal Engine turned out to be incapable of doing some of the things that I wanted them to do, because they knew about these things that I wanted them to do, they were hired to rewrite the Unreal Engine so that it could do the things that I wanted it to do that previously it could not.
What is going to happen, I don't know... [asked Mike Verdu about this] ...to do more computer games. But then a French company bought Legend GTI and Mike said, "they've told us, we must go into a new direction," and I asked, "what is this new direction?" And he said, "I don't know, they won't tell us. They say we're supposed to wander around until we find it." So I don't know what's going to happen there. I think maybe there's been too much wine before the meeting but I have no idea what will happen there.
I think the game is visually beautiful, but I've never played it, because I don't play that type of game. When I'm on a computer and I'm not working, which is not very often, I play chess, or perhaps a strategic simulation of a battle. Free-fight games for every war, that sort of thing.
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Then there was a 15 minute break, and afterwards W.F. Maryson, one of those Dutch writers, would interview Jordan a bit before more audience questions were allowed.
He started pretty badly by saying that he would ask only bad questions, because he'd been told that if he asked a good one Jordan would talk for half an hour, while that much time wasn't allowed him. So Jordan monosylabically answered the first few questions, and the poor guy Maryson began feeling very uncomfortable. (Luckily for him someone else had already asked the "how many more books," because in the discussion between Dutch writers that went before I'd learned that was to be one of his questions, and he didn't seem to heed my warning about it.) After a few questions things went better though.
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That afternoon there was a signing session by Robert Jordan.
It was horrible cold, so I and Liandra, Wolf Gaidin and the rest sneaked into the signing room to warm up (that was one of the only places were it was warm).
Someone from the publisher also came in later, but she didn't send us away, because I told her RJ knows us. I didn't mention that we had no permission however to be there. :)
But RJ didn't seemed to mind. He signed a lot of books for us. :-)
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