Search the most comprehensive database of interviews and book signings from Robert Jordan, Brandon Sanderson and the rest of Team Jordan.
2012-04-30: I had the great pleasure of speaking with Harriet McDougal Rigney about her life. She's an amazing talent and person and it will take you less than an hour to agree.
2012-04-24: Some thoughts I had during JordanCon4 and the upcoming conclusion of "The Wheel of Time."
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Raoden is an expert at manipulating his surroundings. This doesn't make him 'manipulative,' in my mind. (You can read about a REAL manipulator in my next book.) Raoden simply knows how to take what he is given and make the best from them. In a way, this is the soul of creativity. Raoden is like a master composer or an artist—except, where they take images or sounds and combine them to suit their needs, he takes the situation and adapts it to create something useful. Outside of Elantris, he took his father's edicts and turn them against the man. However, thrown into a terrible situation like the pit of Elantris, Raoden really has an opportunity to shine.
He's kind of like a magic unto himself. I've known people a little like him in this world—people who can defy convention and reality, and just make things work. Somehow, Raoden can make three out of two. He can take the pieces and combine them in new ways, creating something greater than most people thought possible.
In short, he's the perfect hero for this kind of book. When I was writing ELANTRIS in the winter of 1999 and spring of 2000, I was finishing up my undergraduate degree at BYU. The book I'd written before it was called THE SIXTH INCARNATION OF PANDORA—undoubtedly the strangest, most-un-Brandon-like book I've ever constructed. PANDORA was a SFstory about a man made immortal though careful—and expensive—application of nanotechnology. The process slowly drove him mad.
PANDORA was a dark, grisly book. The man character could withstand alarming injuries without dying. One prime theme of the novel was dealing with the psyche of a man who could slaughter thousands of people while being shot to pieces, then find himself reconstructed a short time later. It was a rather violent book—probably the most disturbing I've ever written.
When I got done with that book, I reacted against it by wanting to devise a plot that didn't depend at all on violence. ELANTRIS was the result. I wanted to tell a story about a hero who could succeed without having to beat up on the people who opposed him. I took away his physical abilities and his royal resources, leaving him with only his wits and his determination.