Theoryland of the Wheel of Time

Jdieu

Robert Jordan

TJ

BRANDON SANDERSON

TJ

BRANDON SANDERSON

JAN CARRICK

BRANDON SANDERSON

BRANDON SANDERSON

JAN CARRICK

JAN CARRICK

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CHRIS B.

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MATT H.

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JOHN ANDERSON

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JOHN ANDERSON (26 FEBRUARY)

JOHN ANDERSON

JOHN ANDERSON

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BRANDON SANDERSON (28 FEBRUARY)

BRANDON SANDERSON

BRANDON SANDERSON

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COLIN WILSON (26 FEBRUARY)

BRANDON SANDERSON

JAN CARRICK

BRANDON SANDERSON (28 FEBRUARY)

HBFFERREIRA (27 FEBRUARY)

BRANDON SANDERSON (28 FEBRUARY)

He mentioned Hyperion... he loved the book until he read the ending. "There was no ending, no resolution." At that point, he threw the book across the room and never got around to reading Hyperion II.

BRANDON SANDERSON

BRANDON SANDERSON

BRANDON SANDERSON

LUCKERS

LUCKERS

LUCKERS

BRANDON SANDERSON

BRANDON SANDERSON

LUCKERS

SLEEPINGHOUR

BRANDON SANDERSON

BRANDON SANDERSON

The apostrophe was a compounding device, though simple combination is used also. It also signifies a slight pause; a distinct break in the word, but less than the break between two words.

Adding an 'n' is one way to make a plural, with words ending in a vowel, but some words change form in plural and some are identical in plural and singular; including but not limited to most words that end in 'n' in the singular. The word mai means "maiden" or "maidens." One word for "spear" is dareis, but its plural is darei. Another way of making a plural is adding an 'i', as in shar—"blood" and Shari—"Bloods," or an 'in'—"seeker" is mahdi and "seekers" is mahdi'in. This is all of course complicated by the fact that some words change form depending on modifiers as well, and also sometimes to indicate increased importance (a'vron versus Ma'vron for "watchers").

Jordan's Writing Process

Jordan spoke a bit and answered a few questions about his writing process. He said that he originally thought the series would be three to four books. When he was negotiating a contract with Tom Doherty, he told Tom that he didn't know how long the series would be, but that he did know the ending. Jordan says that writers seldom get contracts under those circumstances, but Tom signed him one because he like Jordan's writing. The contract was for six books.

After Jordan wrote the first book, he increased his estimate to four to five books for the series. After the second, he thought it would be 5-6, then 7 or more, etc. Now he does not give any estimate of the length of the series and is upset that the jacket of Lord of Chaos suggested that the series would end with eight books. (Update: In an open letter sent courtesy of Tor Books, dated 19 May 1996, Jordan said that the series will comprise at least ten books.)

Jordan says that the idea for WoT came to him about ten years before he began writing. "What would it feel like to be tapped on the shoulder and told, 'Hey, you're the savior of the world?'" He began writing The Eye of the World four years before it was published (and I say that it shows).

Jordan has lots of notes for the series. He began by writing approximately ten pages (of notes) of history about each of the countries in his story, more for the places he was going to use first. Right now his notes fill more pages than his manuscripts, he says.

BRANDON SANDERSON

CHRISTOPHER SKINNER

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NEIL MCKINNON

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ERIC PETERS

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SHARON VERNON

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FRANK KWIATOWSKI

BRANDON SANDERSON (4 AUGUST)

FRANK KWIATOWSKI

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CONNOR EVERINGHAM

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PHIL

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TEREZ

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GRAE WOLFFE

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Lisa_SFF

Robert Jordan

jude74

BEFORE you say "RAFO", and BEFORE you choose not to answer this next question, please consider the following and hear us out: You claim you've already written the ending of the series. You probably enjoy us squirming as we endlessly try to predict the outcome of the Last Battle. We've been patiently waiting for over a decade. Now that we're nearing the end somewhat, could you please, please answer this question: What is the last word of the last chapter of the last book? JK Rowling told the world that Harry Potter ends with the word "scar". Come on....we know you can give us something like that to chew on.

First off, a small correction. I have NEVER said that I had already written the last scene of the last book. I HAVE said that I COULD HAVE written the last scene of the last book in 1984, and that if I had done so and now chose to write it again, some of the wording might have changed, but what happens in that scene would be the same, now as then. Given that, as envisioned in 1984, the last scene would have ended with the word "world". Today, it might end with word "turns." Now what does that tell you? Not much, I think. I mean, you can extrapolate at least part of the final sentence of Harry Potter, at least part of what it will say, from JK Rowling's "last word." For me, it only means that I have to be careful how I end the next book, or some of you might think it's the last.

And, oh yes. I do like seeing you squirm.

In a lot of ways WoT to this point could be viewed a series of trilogies—Rand coming to realize who and what he is, Rand rising to power, the Shadow striking back at Rand, and now (perhaps) we start moving toward the final showdown at Tarmon Gai'don. Is this a valid way of looking at WoT? And would this have an implication in terms of the series ending in twelve books?

No, it really isn't a valid way of looking at the books. From the beginning, I haven't thought in terms of trilogies, but in terms of one long novel. Longer than I had hoped, in truth. I tried from the start to structure things so that the books would not only bear re-reading, but so that re-reading a book after having read later volumes would mean that you saw what was happening in a slightly different way, yet with the first few books, I also tried to make each volume entirely self-contained (with varying degrees of success) so that anyone could pick up any book and start there. After all, I really had no way of predicting that the earlier books would remain in print, especially not all this time! Eventually, though, I decided that I could not waste time on explaining again what I had already explained. The Wheel of Time is one rather long novel. You really have to start with The Eye of the World, or you won't understand what is happening, why it is happening, or who these people are.

Aan'allein

Tallis

Tallis

My question for Brandon would be:
What kind of mental "retooling" does it take for him to work on an already established world/storyline like Wheel of Time since this is someone else's work?

Also, were there there a lot of notes or material left by Mr. Jordan to work from?

I thought about this quite a lot during the months when I was reading the Wheel of Time again straight through, trying to figure out how I would approach writing the final book. Obviously, this project wasn't going to be like anything I'd done before. I couldn't just approach it as I did one of my solo novels. And yet, it felt like trying to match Robert Jordan's style exactly would have made me lapse into parody.

A lot of the mental 'retooling' I did focused on getting inside the characters' heads. I decided that if I could make the characters sound right, the book would FEEL right, even if some of the writing itself was different. I also decided that I would adapt my style to fit the project. I became more descriptive, for one, and wrote viewpoint with the more intimate, in-head narrative style that Mr. Jordan used. Neither of these were attempts to match how he wrote exactly, but more me trying to match my style to The Wheel of Time, if that makes any sense.

In answer to the second question, he left LOTS of notes behind. He wrote complete scenes in places, dictated other scenes, left piles of notes and materials. The prologue was almost all completed by him (that will be split half in this book, half in the next.) The ending scenes were written by him as well. In the middle, there are a lot of scene outlines as well.

That's not to say there wasn't A LOT of work to do. The actual number of completed scenes was low, and in some places, there was no direction at all what to do. But his fingerprints are all over this novel. My goal was not to write a Brandon Sanderson book, but a Wheel of Time book. I want this novel (well, these three novels, now) to be his, not mine.

Austin Moore

Brandon Sanderson

Brandon Sanderson

I have photos of family around me in my office. They are a gentle reminder that we work to have a life, not the other way around. In one of those photos, Jim and I are shoulder-to-shoulder, our heads leaning in and touching at the temples. A private moment captured by my Janet. At the end of a busy day in mid-October, I was heading towards the door, glanced at the photo and thought, "I haven't called him in days. I need to do it on the way home..." Then it hit me. I can't call him. He won't answer. The stages of grieving are something with which I am all too familiar. I knew what to expect: loss, denial, guilt, anger and finally acceptance. Even so, it is a trip we each must take every time we suffer a loss. And there I stood, staring at the photo, weeping for my loss and feeling guilty for forgetting, if just for a moment.

Thank you for your prayers, your well-wishing, your concerns about our family and especially for the mountains of praise you have heaped upon my Brother/Cousin. Thank you for every note. I have read all of them, all. They have offered more comfort than you could ever imagine. We are healing.

Here in this forum, I want to publicly thank Jason. He has been and continues to be a loyal fan and friend. Through his words and pictures you have been allowed a peek into the world that was my Brother/Cousin's. Jason told you he came to Charleston feeling a bit of anxiety. It didn't show. He blended into our family fabric as if he had always been there. Still he was there as your representative. The questions he asked were those you would have asked. The things he wanted to see were what you would have wanted to see. He touched, smelled and tasted life in the Two Rivers. With Jason's words and photos, I pray that you were able to gain a sense of closure.

Plans are well underway to erect a permanent memorial detailing the life and accomplishments of James Oliver Rigney, Jr., aka Robert Jordan. The site could not be more perfect, the library at the Citadel in Charleston. Items that you would easily recognize will be included in the exhibit: his ram's horn cane, his Citadel ring and one of his broad-brimmed black hats to name a few. The exhibit will be dedicated in the spring of 2008.

By now you are all aware of the grand news that Brandon Sanderson will be working closely with Harriet and Jim's staff to write A Memory of Light. Brandon has proven himself in the genre. Harriet, hand picked him for the task. I hope you are as pleased and excited as we that he accepted the challenge. As you will learn in Jason's interview, Brandon has long been a WOT fan. Now he has the privilege of donning the gleeman's cloak and telling us the ending of the tale. I am sure that he will do Jim's epic proud.

Remember my Brother/Cousin in the old familiar way. I miss you Bubba. Now, as Harriet has told us, Onward.

Wilson
Brother/Cousin
4th of 3

Now, on to the read-through. I'm far into Book Three, but I thought I'd stop and give some more reflections on The Great Hunt. I know that this book is the favorite of a lot of readers, and as I re-read it, I can certainly remember why. The ending was fast-paced and dramatic and contained several of my favorite scenes from the series.

One of these is the experience of using the Portal Stone and letting us see all of the different lives Rand could have lived. I loved the variety of the scene and the power of ending each one with the Dark One's words. I win again. . . .

I thought that would be my favorite scene of the book until I hit the climax with the horn sounding and the Dragon Reborn riding to battle beneath his banner. As many of you know, I am an endings guy. A great ending makes a book for me, while a weak ending can really ruin a story. This ending was a great one—plenty of powerful imagery and good conflicts.

There's one interesting that happened when I was reading this book. I remembered and anticipated a lot of the moments in this book, one of the most important being Egwene's capture by the Seanchan. The strange thing is, I kept waiting and waiting for the event, and it never came. I'd remembered with detail the chapters and chapters of torture she'd gone through as one of the leashed ones.

Finally, I reached the last fifth of the book and the capture came along. I was surprised to see that the time I'd remembered as filling 'chapters and chapters' was really only about thirty pages worth of material.

This says a lot, I think, about the depth of the conflict in those thirty pages. What Egwene went through was traumatic enough for her that it left a strong impression on me. The fact that Mr. Jordan was able to do that in just a few chapters says a lot for his ability to give depth and power to a scene.

Here are a few short responses to The Fires of Heaven. This isn't very long, I'm afraid. I finished the book last week and am now much of the way through Lord of Chaos. The demands of the convention, however, kept me from being able to do a response to book five until now. (And forgive me if I spell any names wrong below. I wrote this rather quickly. I think I got them all right, but didn't have time to check them all.)

As I've said before, reading through the WHEEL OF TIME this time, now that I'm a writer, has been very interesting. It seems to me that this series—particularly staring with Books four and five—were always intended to be read straight through as one. Though there are climaxes in each book, I also get a sense that each ending isn't really the end and each beginning isn't really the beginning. (Which, of course, is part of the overarching theme of the series in the first place.) I like how the books blend together, each having their own theme, but each also feeling like a continuation of what came before.

Book five has a lot of very interesting events. I'm curious how Egwene's character is changing, in particular, and I find myself empathizing with her less and less—but find myself liking Nynaeve and Elayne (not to mention Aviendha) quite a bit more. Nynaeve, in particular, is growing quite quickly as a character as she realizes she can't use hatred of Moiraine as a motivation, and shifts more toward her desires to heal and protect. It is interesting to me that Perrin disappears in this book, much as Rand disappeared in Book Three. The series really begins to expand here, moving more and more toward an exploration of a wide variety of characters.

Reading and expecting this to happen, I find myself very interested in what is happening with the "side" characters. I use quotes because if there's one thing this series has taught me, it's that there aren't really side characters and main characters in this series. It's about everyone. True, the ta'veren form the focus for what is happening to the others, but Siuan and Morgase's stories are in many ways as important to the pattern as those of Egwene and Elayne. My second favorite storyline in this one, actually, was indeed Siuan's story. We've had a lot of tales in this series about common people becoming important. It's nice to see that reversed and look at the lives of important people who are suddenly forced to become common.

My favorite storyline in this book, however, is Mat's. He finally starts to shine. Almost against his will, it seems—which makes it all the more interesting. Those moments in the battle near the end where he keeps trying to escape, but ends up unable to abandon the soldiers were quite powerful and meaningful. I find it interesting—as many others have noted—that the final fight between Mat and Couladin happens off-screen. This seems an indication to me that Mr. Jordan felt that the affect of conflict upon the characters was more important than the conflict itself. Getting to sit with Mat as he works through in his head what had just happened proved for a very interesting scene, and allowed us flashbacks to the fight with Couladin itself. Obviously, this isn't a plot structure to use all of the time, but I felt that it was quite adeptly employed here.

I'm eagerly awaiting the moment when the Wise Ones discover that Egwene isn't a full Aes Sedai. She needs to be brought down a notch or two.

Anyway, as for Book Six, it was a powerful read. Lews Therin was my favorite character of the book—his interactions with Rand are wonderful. We are left wondering just how much is insanity and how much is another man's soul in Rand's head. Each conversation gives us information about the setting, personality about Rand, and tension for the plot as we wonder about his sanity. Not to mention the occasional laugh at the exchanges, sorrow regarding Therin's tragedy, and a sense of mystery as Rand tries to find out just how much he can interact with Therin. Masterfully done.

A second response comes with the ending. It's sometimes easy to skip over this ending in light of the dramatic occurrences at the end of Books two and three, and yet I found this to be one of the most tense of the entire series. It was very well foreshadowed and marvelously executed.

(For you trivia buffs, the longest book I've ever written was 306k long. It was The Way of Kings, which was the book I wrote right before Mistborn. The first draft of Well of Ascension was second, topping out at 258k in first draft form, though we cut it to about 245k before it went to press. So yes, A Memory of Light is going to be the longest book I've ever worked on. Though, since Mr. Jordan left large chunks of writing for the book—including much of the beginning and ending—I don't know that this will technically be the longest book I've written, assuming you count only words I myself wrote.)

Well, after about a month of procrastination, I'm finally getting around to doing the final blog post in my series of "Wheel of Time read through" responses. Thanks to all of those who emailed me reminding me I'd never gotten around to writing a post about Book Eleven. Also, those of you at LJ, it looks like my blog-posting software skipped updating the post I did earlier in the week, so here's a link to it on my own website. You didn't miss much, just a little update explaining that I was done with the grading last week and had moved on to continuing A Memory of Light. (Also, forgive any typos in the following. I wrote it really fast, since I've still got a thousand words or so of A Memory of Light I need to get done tonight.)

I find several things curious about Knife of Dreams. First, the pacing. This is the first book I remember feeling was moving directly toward an ending of the series. We resolve Elayne's plot to a large measure, Mat and Tuon get married, and Perrin rescues his wife. Those three things all complete major, multi-book arcs and set us up for Book Twelve. I've gotten some emails from somewhat snide readers who claim that they don't believe Mr. Jordan was planning to end the series with Book Twelve, but even if I hadn't seen the notes (which DO prove this book was to be the last) I would have believed in good faith that the ending was coming. Though I enjoy the more lethargic pacing of the previous couple books, Book Eleven's more breakneck resolution of concepts was also refreshing, if only as proof that an ending WAS coming.

I'm not sure if Mr. Jordan is responding to comments on Book Ten by doing so much in Book Eleven. My instinct says that he wasn't. None of these plot resolutions felt rushed; they were simply all paced in such a way that book ten ended up being the 'middle' book in a lot of ways. It wasn't introducing new plots and it wasn't resolving them. It was, however, building for what happened in this book.

It was strange reading Knife of Dreams this time as I felt a little like it is directed specifically at me. This book was, in a metaphorical sense, the 'pitch' toward me. It's the lead-in, and it was pitched quit well, directly on line. It's my job to hit that perfect pitch and send it flying.

I posted that other email I got that was somewhat negative, but the overwhelming majority are very encouraging and thoughtful. I got one piece recently from a reader named Matt which got me thinking. It relates to A Memory of Light, and so I figured I'd answer it here.

Brandon—My name is Matt, and I have been following your blog posts and website since you were announced as the writer for A Memory of Light. A question to ask occurred to me today that I don't think I ever saw in any of your interviews/posts about being selected to write the book. As a fan, is a part of you disappointed to read the ending of the story the way you did, that is through RJ's notes and not after reading an entire book?

Excellent question! My answer follows:

It was indeed a different experience to read through the outline and materials, with the holes and occasional vague sections, rather than reading a complete novel. A little bit of me is regretful. Of all the readers and fans out there, I'm one of the few who won't be able to experience this book for the first time in its complete form. Mr. Jordan's assistants and wife have probably been in that boat for years!

And yet, I am a writer, and I don't look at an outline the same way that a regular reader might. The closest approximation I can make is to origami masters. If you go and look at their websites, they will often release 'patterns' that go with a new piece of origami they've developed. The pattern is just a sheet of paper with lines on it. I look at that, and all I see are lines. But to another origami master, that pattern reveals the exact method used to create the piece. They can look at the pattern and see the finished product.

This outline was kind of like that for me, particularly since the ending was the most complete section. I could look at it, and my mind filled in the gaps, adding the foreshadowings and character climaxes that had come before, taking the hints and the outline chunks that Mr. Jordan wrote and putting them all together. It didn't feel like reading a complete book, but I felt like I could SEE that complete book as he would have written it, and that has become my guide in writing it myself.

(I might also note at the end here that one thing I forgot to include in my email to him is that while I didn't get to read the final book like you all will, I DID get to find out what happened at the end of the series a good two years ahead of anyone else!)

I finally saw Iron Man the other day. I know, I'm a little slow to the party, but I did want to get to it eventually. I love a good superhero story, which is odd, since comics never managed to grab hold of me as a kid. My guess is that I like the archetypes they deal with, but don't necessarily like the comic book format. They tend to be very large offenders in the "This will never end" department. At least with a book series, the novels form pre-defined breaks. And even a very long series like the Wheel of Time or the like has an ending out there somewhere. All you have to do is convince me that there WILL be an ending, and I'm willing to read. Most comics convince me of the opposite.

Regardless, the movie was great. Not fantastic great—I disagree that it's the best superhero movie ever, as I'm very partial to the first two Spider-man movies, the original Superman, and the Adam West Batman movie. (Okay, maybe that last one is a bit of a joke—but honestly, both Batman Begins and the original Burton Batman movie rank very high on my list. And I do have a silly fondness for the Adam West one, plastic sharks and all.) Against those, Iron Man didn't quite hold up—but that doesn't mean it's not a great movie. Thoroughly enjoyable, excellently acted, and not TOO badly offensive in the plot department. (Though, the ending bugged me just a little.)

To be honest—and I feel a little guilty for this—I liked Forbidden Kingdom better. Yes, it was campy. But man was it fun to watch Jacky Chan and Jet Lee act in the same movie. Another one that isn't super amazingly fantastic, but was just a good movie.

I'm scared to go see Speed Racer. I was really hoping that it would be good, and the reviews have me paranoid. Maybe if I go with low expectations. (That didn't help with Fantastic Four, though. . . . )

As for the signing, thanks to everyone who showed up at the library today. Wheel of Time progressed well this week, and I'm right around the 70k mark, which earns us another point on the percentage bar.

Warbreaker 6.0 is done! I worked on it a good ten hours today, and managed to push through to the ending. I'm too tired right now to post it, but I'll get it up early next week. The revision took a little longer than I would have wanted—almost three weeks—but it feels very good to have it done and off the plate.

That leaves only a couple of impending time-stealers from A Memory of Light. I'll need to do draft work on Alcatraz Three sometime in September, though that should be VERY quick. (It's one fifth the size of Warbreaker, and there is a lot less to do on it.) I'll also need to do the copyedit for Warbreaker; that should come sometime in November, and should take me about a week. Other than that, there are two convention visits (Worldcon and Dragon*con) and the book tour in October that will be bumps in the road. However, I'm confident that I can get a good chunk more written before Worldcon even arrives.

Next on the plate is to do a couple solid drafts on the 25% of A Memory of Light which I've finished. I need to get it into a state that Harriet can look at and send it too her as soon as possible, as this chunk threatens to be the one that could need the most revisions. How well she thinks I did on these pages will be a very good barometer of how much draft work I'll have to do on the entire book once it's complete.

However, I do intend to divide my time between that revision and—occasionally—dipping into writing some new words. So the percentage bar should start moving again next week, if slowly at first while I spend a lot of time drafting.

Recently, I've been reading interviews that Mr. Jordan did before he died. (Thank you to those who have sent these to me.) I had already read some of the questions and answers, but others were fresh to me. I'm very interested in his comments as I want to make extra certain I don't miss-step and contradict anything he said in an interview, even if that information didn't appear in the books or the notes for the final volume.

I've found a lot of his answers very interesting. Among the more tragic are the ones that came when people asked him what would happen to his series if he died before it was finished. It kind of twists my heart a little bit each time I read a question like that, knowing what eventually happened.

In response to most of these situations, Mr. Jordan was joking and whimsical. Common responses were along the lines of "You'd better hope that doesn't happen, otherwise you'll never get to see that last ending I've been planning all these years!" He often indicated that he'd leave instructions to have all of his notes burned and his disc drives wiped, then reformatted six or seven times so that nobody would ever know how the story came out.

Humorous tone set aside, I see something in these responses. Inside, I think the concept of anyone else working on the Wheel of Time was very painful for Mr. Jordan. I really think that early on, he was against the idea of anyone else finishing the last book, should he die.

However, Harriet has talked to me of the last days before his death, and I also have transcripts of the final dictations he made. Transcripts that talk about what should happen, how people should end up, and how the ending should be written. The tone of these writings and of what Harriet talked about is very different from his earlier comments. It's humbling to see how he changed, instead becoming determined—insistent, even—that the last book be finished after he passed away. Harriet mentioned to me that he didn't want to select someone himself. That thought was too hard for him. I can understand why.

In the end, I see this as his last gift to all of us. As an artist, I can completely understand why he wouldn't want someone else to work on his world and his books. And if he had actually decided to leave instructions for the final book not to be completed, I am sure—very sure—that Harriet would have seen to it that his will was followed. But that wasn't what he decided. He demanded that this book be written. Even though I know that the idea brought him pain.

This was his final sacrifice and gift for you all—the decision to give us the last scenes and instructions for the book, rather than taking that knowledge to the grave with him. From what I've heard of the last months of his life, I know that he spent a surprising amount of time giving dictations, telling about places that nobody else knew existed, and explaining how the characters were to end up.

There are a fair number of people who are against this project happening in any form. They don't make up the bulk of the fan community; in fact, they seem like a very, very small percentage. There are others who aren't opposed to the book being finished in general, but who are opposed to me specifically working on it—though this group is even smaller than the first. Either way, I can sincerely understand both complaints. It seems to me that the Robert Jordan of five years ago would have been in the first group himself!

I have repeatedly acknowledged that I can't replace him. But he wanted this book done, and I'm increasingly confident that I'm the best choice for this project. There are plenty of fantasy authors out there who are better writers than I am—George Martin, Tad Williams, Neil Gaiman, and Robin Hobb all come to mind, among others—but I don't know of another author publishing in fantasy right now who has been as close to these books and these characters as I have been over the last eighteen years.

Knowing that Mr. Jordan was distressed about the concept of anyone finishing the books makes me even more determined to write a book that he would have been—that he will be—proud of. He loved you all very much. Those who complained about the time he took to finish books, or the length of the series, did not know the man at all. He did not write this series to the length he did because of money; he did not 'artificially inflate' the Wheel of Time because of any external pressures. He wrote this series the way he did because he loved it, and because he knew that we loved it.

And I think that's why he chose to have this novel completed. In the end, your good was more important to him than his own good. What grander summary could be made of a man's life than that?

This book is going to be beautiful. I promise you that.

In 1984, Jim came to Tom and said, “I’ve got a great idea for an epic fantasy, and it’s going to be 6 books.” Tom says that book one was 5 years late [it came out in 1989]. Tom describes first reading the manuscript for The Eye of the World: “Oh God, I fell in love with it.” He knew it would be the greatest epic fantasy since Tolkien. Tor prepared a marketing campaign unprecedented in those days of 5,000 Advance Reader Copies to send one to every bookstore in the country and a combined hardcover/trade paperback first printing. 40,000 books sold out almost immediately, and when the second book came out, the sales of The Eye of the World shot up again, doubling what it had sold the first time. After that, Tor stopped the trade paperback part of the release and just pushed the hardcover.

Jim always said he knew the ending of the series, Tom says. And when he was working on A Memory of Light, he wrote the ending. That plus the prologue and the rest of what he wrote totaled 200 manuscript pages [that’s about 50,000 words].

Brandon says that when he arrived at the Rigney house in Charleston, the first two things he asked to see were how the book ended—and who killed Asmodean.

Of the 200 manuscript pages that Jim wrote, the largest part is the prologue, the next largest is the ending, and the rest of the pages are chunks from elsewhere in the book. Brandon estimated that if Jim had completed the manuscript it would have ended up at 2,000 manuscript pages [that’s 500,000 words using standard manuscript format].

In other news, progress on the Wheel of Time continues at a good clip. It's been a surreal, incredible year working on one of my favorite book series of all time. It still feels odd to think of myself as a fifteen year old boy, reading the beginning of Rand's story and wondering how it would end. And now I get to write that ending, or at least part of it. You may have noticed that I hit my 400,000 word goal for A Memory of Light. So, for you Wheel of Time fans, here is an updated relative lengths chart. Think of it as my Christmas present to you. A Memory of Light is now officially the longest book in the Wheel of Time Series.

A Memory of Light Relative Length Chart: 12/24/2008

Alcatraz/Evil Librarians 60,400
New Spring 121,815
Elantris 202,765
The Final Empire 214,752
The Path of Daggers 226,687
Warbreaker 236,301
Winter's Heart 238,789
Hero of Ages 244,201
The Dragon Reborn 251,392
The Well of Ascension 252,739
The Great Hunt 267,078
Crossroads of Twilight 271,632
A Crown of Swords 295,028
The Eye of the World 305,902
Knife of Dreams 315,163
The Fires of Heaven 354,109
Lord of Chaos 389,264
The Shadow Rising 393,823
—A MEMORY OF LIGHT 408k So Far!—

Looks like that chart needs some more goals on it, eh? How about this:

Alcatraz/Evil Librarians 60,400
New Spring 121,815
Elantris 202,765
The Final Empire 214,752
The Path of Daggers 226,687
Warbreaker 236,301
Winter's Heart 238,789
Hero of Ages 244,201
The Dragon Reborn 251,392
The Well of Ascension 252,739
The Great Hunt 267,078
Crossroads of Twilight 271,632
A Crown of Swords 295,028
The Eye of the World 305,902
Knife of Dreams 315,163
The Fires of Heaven 354,109
Lord of Chaos 389,264
The Shadow Rising 393,823
—A MEMORY OF LIGHT 408k So Far!—
The Stand: 464,218
Lord of the Rings: 470,000
Les Miserables (French): 513,000
War and Peace (English): 560,000
Ten copies of Alcatraz: 604,000
Atlas Shrugged: 645,000
Entire Mistborn Trilogy: 711,692

This is a good one to answer now, since I HAVE read the outline (obviously.) Actually, there's a good story here. When I first went to visit Harriet, I recall walking in the door and—even before eating—asking if I could have two things. The ending Jim wrote (he finished the last part of the book himself) and the answer to who killed Asmodean.

I wish it were possible for me to express just how much I enjoyed reading those final written words that Mr. Jordan left behind. I was satisfied. I think that's the perfect word for it. Satisfied. It ends the way it should. Not, perhaps, the way I would have guessed—or even the way you have guessed. But it's the RIGHT ending. I was very pleased.

And it made me sleep a lot more easily once I got to see that the ending was there, and that I wouldn't have to do that part myself. I'm a 'goal driven' writer. I develop an outline for myself that generally focuses on my ending, and then my writing pushes me toward that goal. Already having the ending makes this book possible.

I guess the only other thing I'd like to note that I was feeling was this: Reverence. This is the last work of the master. It's like holding a play penned by Shakespeare himself—one that nobody else has read, and that you get to perform for the first time.

Question Continued

Brandon Sanderson

As I've always said, this isn't my call. Harriet and Tom will decide this. My gut instinct says yes, but I don't know how that process will proceed. I think that the best thing I can do for the Wheel of Time readers is FINISH the book, no matter how long, with as much speed as I can manage while still maintaining the highest of quality. That way, even if the novel gets split, readers can be reassured by the fact that the book IS done and that it is not going to continue on endlessly.

One of my biggest fears is that readers will assume I'm artificially inflating the length of the book in order to keep the Wheel of Time going and bring in more cash. I promise you in all sincerity that this is NOT the case. I'm writing a single book, following the outline where I can, filling in holes where I must. We are not going to keep you juggling forever. I will finish this book as quickly as I can, so that even if the first half is released on its own, you can know that the second half is done and coming soon.

Remember. Robert Jordan DID write the ending himself. I just have to get us there.

Sorry, but I really have no firm idea on this. I'm still hoping to get to 400k by December 31st. (Watch the website and see if I make it—it's going to be very close. I could make it still, but it will take some hard core writing through December.) At that point, I think it will be time to fly out and see Harriet again to go over the outline for the remaining portion of the book. (What we talked about during my last visit in April will bring us right up to about the point where I'll be ending in December.) At that point, we'll decide whether to press forward with the rough draft until the book is done or do some heavy revising on the first 400k to stabilize it before moving on. We'll have to talk this through, as I can't really decide which would be better. I'm of two minds on it.

If I press forward, I could have the book finished by March or April. If we revise, it will probably be until June or July. But even that is probably an optimistic guess, since I have no idea how much time the book will need to spend in revision.

I keep saying that I'd like to have the book out by November next year, and that's not outside reason. But we'll have to see. The last thing we want to do is release a book that feels rushed and thrown together. One thing I do know is that Tor is poised to get it through production at record speeds once we turn it in.

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.

Brandon Sanderson

March, 2009.

Knowing that there was an ending, and actually having read it...but knowing there was an ending changed the entire series for me. When I was reading through it, it sometimes... I can see how sometimes people might have trouble with some of the middle-late ones, not knowing particularly when it's going to end and when the next installment will even be out. And it sometimes gets hard—it's hard to wait two or three years for a book, and by then there's such a large cast of characters—keeping them all straight and keeping track of them all. But when it's done, it's a completely different experience.

DAMON CAP

I think I agree with you there, because I think that's probably one of the reasons I was reading so much fantasy and books at that time, that those breaks made it difficult. Kind of like a television season hiatus. Like, you know, you have all these shows that get canceled because there is that long hiatus. I felt the same way. I kind of feel the same with Martin's stuff as well. So that kind of makes sense to me.

BRANDON SANDERSON

With Jordan, a lot of us die-hard fans, we would have to read the whole series again every time a new one came out, which is how I got around to reading The Eye of the World like nine times by the time I was working on this project. Because when I'd been younger, I'd been hardcore enough to do that. When I got older, I just didn't have the time, so I'd have to read the new one. And even I, having read the first ones that many times would get lost sometimes when a new one would come out. When Knife of Dreams comes out and I'm reading through it, I'm like trying to remember how this person is related to that person. It's a completely different experience reading through all of them knowing that they're done.

The ending was great. I mean not...you know. It's... I'm biased, because... I mean, what else am I going to say? But at the same time, I really did really enjoy the ending. It's fulfilling.

DAMON CAP

Did the ending make you reminisce more about the other books? Did you feel those other books had a little more power behind them after reading the ending?

BRANDON SANDERSON

Yeah. Yeah, definitely. He was a... He's a master of foreshadowing. He really is. It's not like certain other books where I don't want to name the authors, but you read book seven and you're like, "How did this happen? This isn't foreshadowed. You're just making this stuff up." I mean, I read the ending; he finished the ending before he passed away. And then I started the series and read it through again. And the things that were in there, foreshadowing that ending I read just blew me away. The detail, the level of detail in some of his foreshadowing. There are visions of scenes that people are having in the first few books which are scenes from the last book. Which is just amazing.

DAMON CAP

I think that definitely is something that he was master of.

carmen22

Brandon Sanderson

Recently, I've found myself thinking a lot about the years when I was simply another Wheel of Time fan. This is likely due to the coming release of The Gathering Storm, which will be the first WoT book that I don't get to experience with the rest of the world as it is released. That puts me in a strange position.

Actually, a lot of things about this project put me in a strange position. I've become the most direct face of the Wheel of Time, with my blogging and appearances. Because of that I find myself (by design) being an advocate for the series, rather than a commentator on the series. There's a distinction there. It's no longer my place, for instance, to offer criticism on the cover art. Perhaps some would call it two-faced of me to avoid discussion of things in the series that perhaps deserve criticism; I just feel that it is my job to stand in Mr. Jordan's place, as best I can, and be respectful of his memory and the responsibility I've been given.

Still, despite this, I do find myself remembering the days when I was just a fan. I went through all of the typical WoT fandom emotions. There were times when I tore through the books, rereading them voraciously, loving every page. And yes—though I don't now talk about it often—there were times when I was annoyed with the WoT. The speed at which the series was released, the quirks of Mr. Jordan's language, the times he focused on a side character I didn't want to read about.

There would be times when I would reread through all the books—taking months and months—in order to read a new volume that just came out. And then the next one would take just long enough to come out that I'd have forgotten the details of the books. I'd feel mentally fatigued and think, "What do I do? Do I spend all of that time reading again, or do I try to read the new one without a refresher on who is who, and perhaps lose some important threads?" During those times, I would think, "Why am I subjecting myself to this? This series is overhyped."

And then I'd read the books and remember what I'd forgotten. Not just the names and plot threads; the love and the thrill of a purely majestic epic fantasy.

The Wheel of Time is one of the few series I read a lot when I was younger that made the transition to adulthood with me. Other authors—good authors—weren't able to write for both the youthful Brandon and the adult Brandon. But Jordan could do it. There is something very special about these books. I think you'll find it again when you dig back into the Wheel of Time for what is happening in October, whether you decide to read the entire series (I suggest at least reading Knife of Dreams again) or just grab The Gathering Storm.

Still, I guess I'm posting about this to say, "I understand. I don't feel it's right for me to agree with you most of the time when you complain. But I do understand. I've been there." I understand that some are annoyed at there being three books instead of one, I understand that some are excited about getting three books, and I understand that most of you probably feel both annoyed and excited at the same time. (This series does that to people.) I understand what it's like to defend the Wheel of Time vigorously to friends, but then find yourself saying, "I think I'll wait to read the rest of them until the thing is finally done" to other friends later in the week. I've been there. I have a friend who—each time Mr. Jordan's name was mentioned—used to raise his fist to the sky and curse. Partially in jest, partially to express his fascination and frustration at the same time. I empathized with him a lot.

But I've read the ending now. It works. It fits. A journey like this one hinges a lot on the destination. And that destination turned out to be everything I wanted it to be.

Some of you haven't ever felt these feelings; you've loved the WoT the entire time, and haven't felt a bit of frustration. Some of you have only recently discovered the series, and wonder what the fuss and frustration is about in those of us who have been reading for nearly twenty years now. To you who are like I was, I just say this. Give yourself a chance to discover the books again, and you'll remember what this is all about.

BRANDON SANDERSON

HARRIET MCDOUGAL RIGNEY

BRANDON SANDERSON

HARRIET MCDOUGAL RIGNEY

BRANDON SANDERSON

Ha! Well, let's see. If Dan were the killer, I think he'd try to take out Howard first, since Howard is obviously the most dangerous of us all. Though he sees me more often, so he might try to get to me first. I'd put it in this order:

Howard
Me
Jordo
Peter
Pemberly (he'd leave the women for last because he's a very gentlemanly killer.)

And then Stacy would take Dan down in a surprise ending. She'd edit him out of the script or something.

It's actually not as simple as either of those options. The notes range in how detailed they are. In some places, he finished complete scenes, which is great. He finished several complete scenes, which will be scattered through the three books, including the ending itself.

In a number of places he gave dictations. Over his last few months, he spent a lot of time dictating to the family things that should happen. These are very interesting scenes in that they read kind of like a screenplay, because they transcribe the dictations. It's a lot of the dialogue, but it's him saying what should happen instead of actually writing it out. "And then, Egwene says this, and then he says this, and then this happens." And so the description isn't there, but the dialogue and the blocking all are. As I said, like a screenplay.

In other places, there are fragments of scenes, where he wrote a couple of paragraphs, and then another couple of paragraphs. And just like a shattered plate, there are pieces missing. In other places, there are sentences he's written, "and then this happens"—where "this" is a sequence of four chapters' worth of events. In other places, he left a paragraph or two, and in some places there’s just a big hole. There're characters here and there, and then there are a lot of really detailed notes for the ending, saying where everyone ends up, who lives and who dies—it's very detailed, and is where I think the bulk of the material is. But sometimes, we'll know where someone is at the end of Knife of Dreams, and then at the ending he says that person is doing something else, but the intervening space is a big hole.

He talked about his love of reading, and mentioned going into his local bookstore and seeing The Eye of the World for the first time. He had to come back and get it a week later because he was broke. He mentioned how RJ and the WoT is the reason he chose to become a writer.

He then talked about perusing the internet one day and finding out about RJ dying, how it was like finding out all his childhood friends had died at one time. He talked about the eulogy he wrote for RJ. How he came down stairs one morning (noon) and got the message from Harriet asking to talk to him. He finally decided to write the books because he could not think of another person who was a huge fan who had studied the story as much as he has and was also a published writer. He talked about flying to meet Harriet at her house, she invited him in with an offer of food, and asked him what she could get him. He said "the ending of the book and who killed Asmodean". I too have read this many times before but the impact of hearing it was phenomenal.

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.

So that's about it. I want to say thanks again to Maria for putting up with me—it was amazing to get such an insight into Team Jordan, and the process that led to us getting these amazing books, and on behalf of all the fandom thank you for your work on the series—I feel very comfortable knowing the ending is in the hands of such a dedicated group of people!

Thanks, also, to Jennifer Liang, our very own Kathana, for helping me in this. It would not have happened without her!

Richard Fife

Wilson Grooms

Richard Fife

Wilson Grooms

Richard Fife

Wilson Grooms

Those two books will be Towers of Midnight (scheduled for November 2010) and A Memory of Light (November 2011). Rigney's single concluding volume has become three because there's just too much story to cram into one book; 750,000 words would be impossible to bind. "Even Jordan couldn't have written everything he left in one volume, although he thought he could," said McDougal in a Dragonmount blog. "But you recall that he thought he could write the entire Wheel in six volumes."

Although Sanderson produced The Gathering Storm quickly and efficiently, McDougal understands that the ending can't be rushed. She quotes from the Jack Nicholson movie Wolf: "If you push a deadline, you get a first draft," she says. "If Brandon needs the time, he needs the time. It's gotta be good."

Meanwhile she's under contract to develop a Wheel of Time encyclopedia, and Rigney is the focus of The Wit of the Staircase, a documentary by local filmmaker Hunter Wentworth, son of South Carolina poet laureate Marjory Wentworth. The series continues to gain new admirers, and there are ongoing rumors of TV and film adaptations.

Audience

Brandon Sanderson

Yes, I did move things around a lot, particularly between the first draft of this book in 2003 and this draft. Things have jumped around all over the place, and even at the last minute I was moving different things between parts. Dalinar moved around more than Kaladin did because I was trying to decide where I wanted his ending in part two to happen. I wanted each of the parts to have its own climactic sense, to have a good ending particularly for the characters who didn't continue in the next part, when Dalinar and Shallan were alternating. So there was a lot of juggling and trying to decide—for instance, the prelude was added very late in the process. I'd had the prologue and decided I needed a second prologue as the prologue to the series, which is where the prelude came from.

Kaladin's entire sequence, with the flashbacks and things, was decided on early on, but remember I'd written this book once before. At the end of his flashback sequences, he makes a decision. Where this book deviates from the original I wrote in 2003 is that in the old version he actually made the opposite decision, and it happened in chapter one.

Now we get to see flashbacks of him making the other decision, which works so much better. It's one of those things where I was beating my head against the wall for years trying to figure out how to make his character work. His character was the part of the original The Way of Kings Prime that had not worked, and it took me years to figure out how to make his character work right. That one decision of his was the turning point.

Will we ever get to visit The Origin of Storms? And has the ending for the series already come to you?

I know exactly what the ending of the series is. I’ve been tempted to write it down a few times. Things Robert Jordan has said make me not want to write it down yet because he felt that writing the ending down before he got there was the wrong move, and I think he might be right. But I do have it worked out. In fact, I’m going to have a big powwow with Peter, Isaac, and Emily where I sit down and explain all these things so that they can point out holes before I start the second book, which is going to be a very interesting thing—we’ll probably record that and then twenty years from now post it on the internet. But yes, I do know the ending. I will not say whether we’ll go to the Origin of Storms.

That is a wonderful question. The people you mention are brilliant writers whose skill and mastery of the genre I'm not sure I can ever get close to matching. I'll just put that out there. I do think, having read their work and seeing what they've had to do—I mean, if you look at something like the Wheel of Time or A Song of Ice and Fire, these authors have had to do this without a lot of guidance. When Robert Jordan wrote The Wheel of Time, there were no fantasy epics of that length out. There were trilogies; we had David Eddings' five-booker, but those were all much shorter than what The Wheel of Time became. There was just nothing like what Robert Jordan was doing. George R. R. Martin was kind of in the same boat. They've had to do this without examples to follow. What I have going for me is that I've been able to watch them do it—and as you said, watch them hit those pitfalls (and admirably do great jobs of crossing them)—and hopefully learn from their example. The main thing that I feel I need to do with this series is keep the viewpoints manageable. What Martin and Jordan both ran into is that the more viewpoints you add, the more trouble you get in, because when you get to the middle books you've got so many characters that either you have a book that doesn't include half of them, whereupon you have the latest George R. R. Martin book, or you do what Robert Jordan did famously in book 10 of the Wheel of Time, which is to give a little bit from each viewpoint and progress none of them very far. Which was also very problematic. Both of those solutions were very wonderful things to try, and I'm glad they did them, but what this says to me is, "Keep your viewpoints manageable." So that I won't run into that problem as much.

Another big thing I'm doing is that I'm trying to make sure each book has its own beginning, middle, and end so that it is a complete story when you read it. When I would read the Wheel of Time as just a fan, and get only a small sliver of the story, it would be very frustrating. When I reread the Wheel of Time knowing and having read the ending, it was a very different experience. I didn't feel a lot of the slowing and the frustration, because I knew the ending, and I knew how long the book series was. So if I can give a full story in each book, I think it will help with that.

The last thing I'm doing is this idea of the flashbacks for each character. I think that each character getting a book will fundamentally change the form of the epic fantasy, which will allow each book to have its own story without having to do something like Anne McCaffrey did, in which main characters in one book wouldn't have viewpoints in later stories. I think that made for a wonderful series, but for me it detracted a bit from the series' epic scope. I knew that if I read about a character, I wasn't going to get that character again, ever, and there was something sad about that. I don't want this series to be like that. Kaladin will be very important to the rest of the series—in fact, he's probably going to get another book, so he has two.

Hopefully the books will remain epic without having that drag. We'll see if standing upon the shoulders of giants as I am will help me to approach this in a different way.

When you first started work on the Wheel of Time what was the first thing you looked up in the notes/material?

Asmodean's killer. After that, I read the ending.

PART FOUR: STORMLIGHT ARCHIVE PUBLICATION SCHEDULE

Now on to Stormlight Two. (The title was originally Highprince of War, but I'm feeling in my outlining that this book needs to be weighted more toward Shallan, so a different title is likely). I'm stuck between a rock and a hard place here on this one. Writing a Stormlight book, like writing a Wheel of Time book, is a huge undertaking. Getting one of each out in the same year required fourteen-hour days, six days a week, for a good year and a half. I can't ask my family to go through that again. Beyond that, the buffer is gone. (I still had a little bit of it when working on Towers of Midnight—not to mention the first version of The Way of Kings that I'd written in 2002. I threw it away and started over, but having written it once before sped the process a great deal.)

So . . . what do I do? I'm feeling right now that I will go straight into Stormlight Two after A Memory of Light. But that means (at very best) it won't be out until the fall of 2012. I don't really have a choice, however. The Wheel of Time fans have waited too long for their ending already. I need to do A Memory of Light, and I need to do it right, no matter how long it takes. So I can't make any promises about Stormlight Two except that I won't take a break after A Memory of Light, but will go right into it and try to have it done in time for the fall 2012 season.

That means, by a quirk of the publishing business, that I have two epics this year, none next year, and two the following year. (If I meet my Stormlight deadline, which may or may not happen.) Still, this is what I'm planning to do. Barring something unexpected, this is what you should anticipate. I don't think there will be a book at all from me next year, which punches me in the gut. But that's what we get for pushing to have two books out last year and two books this year.

So, here's my official future status, as I sometimes post.

BOOKS YOU WILL SEE SOON

* Towers of Midnight (November 2.)
* Alcatraz Versus the Shattered Lens (December 2010.)
—A note on Alcatraz. This is the fourth and final of the Alcatraz books in my contract. I do plan there to be more in this series, but I don't have time for them right now. And so, for now, this is going to stand as the ending of the series. I'll do Alcatraz Five eventually, I promise.
* Scribbler (Early 2012.)
—A note on Scribbler. This is a shorter steampunk book I wrote in 2007, just before I got the call about The Wheel of Time. It's quite good, and Tor has decided to purchase it. It involves chalk-based magic and a boy who is the son of the cleaning lady at a school for people who learn the chalk magic. I haven't had time to give it a revision, but will likely use some of the time in my free months between now and January to do a draft of it. If I turn it in January or February, you won't see it until a year after that, due to scheduling.

BOOKS YOU WILL SEE SOMEWHAT SOON

* A Memory of Light (March 2012.)
* Stormlight Archive Book Two (Late 2012 or early 2013.)
* Stormlight Archive Book Three (One year after Book Two.)

ANTICIPATED SEQUELS

* Alcatraz Five (Indefinite hiatus.)
* Elantris Two (Planned to be written after Stormlight Three.)
* Second Mistborn trilogy (It's coming someday, I promise.)
* Nightblood: Book two of Warbreaker (Coming someday.)
—Some notes here. Elantris has three books in the series, but they are loose sequels of each other. This means that side characters in one become main characters in the next. So while you'll see Raoden and Sarene in the second book, they won't be main characters. (Kiin's children will be.) Warbreaker is two books. Mistborn is a trilogy of trilogies, with the second trilogy in an urban (20th-century-level technology) setting. For Stormlight, I'm planning a pattern of two every three years, with a different epic—a standalone, or one of the sequels mentioned above—in between. Thus the Elantris sequel is next in line after Stormlight Three, which would be followed by Stormlight Four and Five.

MAYBE COMING SOMEDAY BUT ONLY PARTIALLY WRITTEN

* Dark One (YA dark fantasy.)
* Steelheart (Superhero apocalypse.)
* The King's Necromancer
* The Silence Divine (Shardworld novel, standalone.)
* White Sand (Shardworld trilogy.)
* The Liar of Partinel (Shardworld novel, one of two.)
* Dragonsteel (Major Shardworld epic. Won't be written until Stormlight is done.)

POSSIBLE PROJECTS FOR MY TIME OFF

* Mistborn short story (Looking likely.)
* Unnamed urban fantasy (This is what I'm working on right now. Watch Twitter/Facebook for updates on this story. It involves a necromancer pizza deliveryman as a protagonist.)
* Scribbler revisions (Will almost certainly be done.)
* Finishing one of the unfinished novels mentioned above (Not likely, but you never know.)

Who knows when/if anything written during my side-project time will get published. Sometimes, these stories are too unformed (as I like to be very free and loose when I write them) to make it. On other occasions, there isn't time to do revisions on them. (I write initial books very quickly, but spend many months in revision.) For instance, Alcatraz books were my deviations for 2005 and 2006, and the first of those came out very quickly. Scribbler was the one for 2007, and it won't be published for a year or so yet. I didn't have time for much in the way of deviations in 2008 or 2009, just the unfinished projects I mentioned above.

We shall see. As always, thank you for reading and supporting me in this compulsive writing addiction of mine.

THIS APPLIES TO FANTASY

Before postmodern literature can start appearing in a genre (and therefore, before deconstructionists can start pointing out the irony inherent in that postmodern literature) you need to have a body of work with dominant themes and concepts. You need an audience familiar enough with those themes to recognize when they are being molded, changed, and built upon.

Fantasy (and the epic in particular) hit a postmodern stage with remarkable speed. Tolkien was so remarkably dominant, so genre-changing, that reactions to him began immediately. And, since so much of the audience was familiar with his tropes (to the point that they quickly became expected parts of the genre), it was easy to build upon his work and change it. You could also argue that the Campbellian monomyth (awareness of which was injected into the veins of pop culture by George Lucas) was so strong in sf/f that we were well prepared for our postmodern era to hit. Indeed, by the late '70s, the first major postmodern Tolkienesque fantasy epic had already begun. (In the form of The Chronicles of Thomas Covenant, the Unbeliever.)

During my early years writing, I mixed a lot with other aspiring fantasy novelists. A great number of us had grown up reading the Tolkien-reaction books. Brooks, Eddings, Williams, Jordan. You might call us of the rising generation Tolkien's grandchildren. (Some of you may have heard me call him, affectionately, "Grandpa Tolkien" when I talk about him, which is an affectation I think I got from a David Eddings interview I once read.) A lot of my generation of writers, then, were ready for the next stage of fantasy epics. The "new wave," so to speak.

During those years, I read and heard a lot of talk about "taking the next step" in fantasy. Or, "making the genre our own." It seems that everyone I talked to had their own spin on how they were going to revolutionize the genre with their brilliant twist on the fantasy epic. Unfortunately, a lot of us were a little unambitious in our twists. ("My elves are short, rather than tall!" or "I'm going to make orcs a noble warrior culture, not just a group of evil, thoughtless monsters!") Our hearts were good; our methods were problematic. I remember growing dissatisfied with this (specifically with my own writing, which was going through some of the same not-so-original originality problems), though I couldn't ever define quite why.

I think I have a better read on it now. It has to do with a particular explanation one writer gave when talking about his story. It went something like this: "Well, it starts out like every other 'farmboy saves the world' fantasy novel. You know, the plucky sidekick rogue, the gang of unlikely woodsmen who go on a quest to find the magic sword. But it's not going to end like that. I'm going to twist it about, make it my own! At the three-quarter mark, the book becomes something else entirely, and I'll play off all those expectations! The reader will realize it's not just another Tolkienesque fantasy. It's something new and original."

There's a problem in there. Can you spot it?

Here's the way I see it. That book is going to disappoint almost everyone. The crowd who is searching for something more innovative will pick up the book, read the beginning, and grow bored because of how familiar the book seems. They'll never get to the part where you're new and original because of how strongly the book is relying upon the thing it is (supposedly) denying. And yet, the people who pick up your book and like it for its resonant, classical feel have a strong probability of growing upset with the novel when it breaks so solidly out of its mold at the end. In a way, that breaks the promise of the first three-quarters of the book.

In short, you're either going to bore people with the bulk of the book or you're going to make them hate your ending.

That's a tough pill to swallow. I could be completely wrong about it; I frequently am. After all, I've often said that good writing defies expectations. (Or, more accurately, breaks your expectations while fulfilling them in ways you didn't know you wanted. You have to replace what they thought they wanted with something so much more awesome that they are surprised and thrilled at the same time.) But I think that the above scenario exposes one of the big problems with postmodern literature. Just as Jewel's music video is likely to turn off—because of the sexual imagery—people who might have agreed with its message, the above story seems likely to turn away the very people who would have appreciated it most.

MY OWN WRITING

I ran into this problem full-on when I first conceived the idea for Mistborn. For those who haven't read the series, one of the main premises is this: A young man followed the hero's cycle from a fantasy novel, but failed at the end. The thing that made me want to write it, originally, was the thought, "What if Rand lost the Last Battle? What if Frodo had failed to destroy the ring? What if the Dark Lord won?"

A very intriguing thought. And yet, I realized early on that if I wrote the book as I was planning, I would fail. That story undermines itself. Perhaps there is someone out there who can write it in a way that engages the reader without betraying them at the end, but that person was not me. By the point I started that book, I was in the camp of those who (despite having a great love for the fantasy epics of the past) wanted to explore where fantasy could go, not where it had already been. I wasn't interested in writing a standard hero's journey. Jordan had done that already, and had done it well.

And so, I set Mistborn a thousand years after the hero's failure. I made my original concept into the backstory. People have asked (a surprisingly large number of them) when I'll write the prequel story, the story of Rashek and Alendi. My answer is to smile, shake my head, and say, "I don't think it's likely." To explain why would require a lecture divided into three lengthy parts, and you know how boring that kind of thing can be.

Now, some of you may be thinking the obvious thought: "But Brandon, Mistborn is a postmodern fantasy epic."

Indeed it is. I was intrigued by the concept of writing a postmodern fantasy, and that's what Mistborn is. In each book, I consciously took aspects of the fantasy epic and twisted them about. My story above wasn't to discourage that type of writing; it was to explain one major way that it could go bad, if you're not careful.

I tried to walk a line in Mistborn. Enough archetype that I could resonate with the themes from fantasy that I wanted to play with, but enough originality to keep the readers from expecting a standard ending. It's the type of balance that I can never walk perfectly because there is just too much variety to be had in the world. Some people are going to read the books and feel betrayed because of the things I pull; others are going to find that they're not original enough for their taste.

The success of the books was in hitting the right balance for the right people; those like myself who love the old epics, and like some resonance with them—but who also want something new in their storytelling. That careful blend of the familiar and the strange, mixed up and served to people who have tastes like my own. That's basically one of the only measures we authors can use. (And note, I'm not the only one—by a long shot—doing postmodern fantasy. Look to Jacqueline Carey's series The Sundering for another example of someone doing the right blend, I feel, in a postmodern fantasy epic.)

Chekhov's Gun in Act 12

Brandon, I just read your essay on Postmodernism in Fantasy, and as always, I'm intrigued by your mix of humility (real) and ambition (huge). You talked about interpretation, intention, and audience—which I hope we can touch on in these posts.

For those joining us who don't know, both Brandon and I have each just published first books in new epic fantasy series. In other company, people would say I write big books—The Black Prism is 640 pages and 210,000 words—but Brandon has just published The Way of Kings, which is what? 1,000 pages and 390,000 words? My series will be a trilogy which will definitely come in under five books, whereas Brandon is planning a decalogy (oddly enough, not the study of decals), which will definitely come in under fifteen.

I want to revisit that essay if we have a chance, but because Brandon's still on the road for his book tour and won’t have much time for a few days, let me toss him a few softballs first:

1) Brandon, multi-volume epic fantasy presents unique storytelling challenges and unique demands upon a reader. You said in your essay that with The Stormlight Archive, "I didn't want to intentionally build a story where I relied upon reader expectations." But I assume you meant that in a specific rather than a global way: you do intend that subplots will get wrapped up eventually, that there is a main plot, that characters have arcs, and that the story has an ending...right?

2) If that's a valid assumption, then as a storyteller chunking a story out in ten volumes, how much do you worry about imposing the traditional limits of a novel on each volume? (i.e. Chekhov's Gun: "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it must absolutely go off. If it's not going to be fired, it shouldn't be hanging there.")

For example, I wrote a scene for The Black Prism which was interesting in its own right and introduced a cool monster and a setting that I plan to use later in the trilogy—but it didn't accomplish anything necessary for book 1. It slowed the headlong rush to the end of the book; it looked like gratuitous worldbuilding. It wasn't, but a critic wouldn't know that until they read book 3—which I haven't yet written. So I cut it.

Would you have? Would you have cut an analogous scene in Mistborn 1, but not from TSA 1?

Are you writing these books so that each volume has that rousing, bang-up finish, or are you fine with a cliffhanger, content that the series must be judged as a whole? In a ten-volume epic, do you conceive of them as telling one story or ten stories? Or both? Or more?

Brandon stated he is not trying to imitate Robert Jordan's voice, but rather adapt his own voice to the Wheel of Time to write descriptions, "untrustworthy" character viewpoints, etc., to feel right for WOT. Tor did not want a ghost writer/imitator to write the last book (at the time it was still one volume). He wants to release a companion volume showing what RJ wrote and what Brandon wrote or changed.

He mentioned that RJ wrote the ending first, then the prologue, then middle parts of A Memory of Light.

Did the ending of WOT bum you out?

No, it didn't, but it helped since that is how Brandon generally writes, which is to write the ending and use an outline. However, Brandon doesn't get to read A Memory of Light like a regular fan, which was a little disappointing since he is writing it (counter-balanced by the fact that he knows the ending before anyone else).

He did say that when he first went to Charleston that before eating dinner, he insisted on finding out who killed Asmodean, and how WOT ended!

Mr Sanderson, When you tell an epic story, such as The Way of Kings, do you outline the entire series prior to starting? Or do you have a general idea how the series should flow and adjust accordingly? If you do adjust, do outside influences (such as world events) factor into adjustments or do you keep everything contained within the book?

I'm very curious to how rough the story is at the beginning compared to the ending and the path it takes. Fantastic book by the way, but I'm sure you hear that quite often :)

Thank you.

I do outline quite extensively. Remember, however, that authors each tend to do things their own ways. There's no one perfect way to do this. George R. R. Martin described some of the extremes in terms of "Gardeners" and "Architects." Gardeners grow a story, without a firm idea of where they are going. Architects tend to build an outline as a frame and work from it.

I'm (usually) an architect. I've found that the best way to get the kinds of endings I like. I have to know where I'm going before I start.

That said, an outline has to be a living thing of its own. I need the flexibility to knock out entire sections of it and rebuild them; I do that frequently. I have to be able to respond to what I'm passionate about in the world, as you mention. In this book, the interludes were more reactionary, and I built them into the story to allow myself more freedom to explore the world in a "Gardener" sort of way, while the plot itself was quite well set out.

The other books in the series are not currently as fleshed out as the first was, but I have outlines for each of them.

Seeing as this is a planned ten book series, do you ever fear that your writing will deteriorate along with the length of the series like Robert Jordan's (arguably) did?

First question first, as it is an excellent one.

Long series run into some problems, particularly if they're a single, ongoing story rather than a sequence of episodes. Robert Jordan ran into some of these problems, as has George R. R. Martin. I think much of it can be mitigated by releasing books regularly. The Wheel of Time reads much differently to me now that I know the ending, and am not waiting years between books, only to get one that doesn't feel like it progresses the story as far as I want.

I feel the other big danger with the long series is the explosion of side characters. Sometimes, it seems that their narratives—and their plots—take the bulk of books, causing some bloat to the series.

I can't promise my writing won't deteriorate. I haven't ever tried something of this length before. However, I have attempted to do some things specifically in the construction of my outline to try to forestall it. Specifically, I've outlined quite a lot. (See my other reply.) I know where I'm going.

Tangents will be kept to a minimum; I've given myself the interludes, as I've mentioned before, to let me explore some tangents. I think this will keep me from feeling I need to tell entire books about side characters; I can give them an interlude, and hint at a greater story for them. Then I can leave them be.

The other thing I'm doing has to do with the flashbacks. Each book will have a single focus character, and I will delve into their backstory. I'm hoping this will give each volume it's own cohesion; rather than just a tiny slice of a story, I hope this will help make each one feel like it is its own story.

Time will tell if I succeed or not. Until then, I don't fault you for being wary.

I blogged briefly yesterday about the Suvudu cage matches. I thought I'd dig into it a little further today, as I consider Monday updates (normally) to be more "Here's what's going on" updates. I prefer to move more in-depth posts to other days.

So, the Suvudu cage match. First off, I'd like to say that I'm impressed by the improvements made to the format this year. For one thing, the editors made a conscious effort to even out the power level of the combatants. That goes a long way toward making the matchups more interesting, I think—no longer do we have to suspend disbelief to epic proportions in order to pretend that Jaime Lannister would somehow ever NEED to fight Cthulhu, and somehow find a way to win.

There are still some things to gripe about here, as there is still great power-level variety in the matchups. All things considered, this is a good group to battle it out, but do Gollum and Tasslehoff REALLY belong in this? I don't think they match the others. And what about Pug, Allanon, and Zedd? Three full-blown, deeply trained wizards amid a bunch of melee fighters? Fantasy novels aren't D&D. (Well, hopefully most of them aren't.) There's no reason to force power balance between the arcane and the non-arcane. But anyway, at least there aren't any Elder Gods running around.

So, what are my thoughts? Basically, thinking of it rationally, Pug and company should end up dominating. Maybe Beowulf too. I mean, really. Beowulf is the proto-hero that almost all of the rest are (tangentially) based upon; the guy was practically indestructible. The others are arguably demi-dieties, and would be better off playing hardball with people like Rand and Gandalf than ending up fighting people like Tally or Druss. (Who, don't get me wrong, are both totally awesome—but they're going to have trouble with people who can teleport, call down the powers of the elements, and all-around warp the fabric of reality.)

Questions like these make it a little hard for me to figure out just what's going on here. Is it just supposed to be a popularity contest? If so, Jacob Black wins and we can all go home. (Sorry, but it's true.) If it's not supposed to be a popularity contest, and we're supposed to consider each pairing realistically, why don't we have more information on the matches? How far apart do the combatants start? It's a "cage match" by Suvudu's title, but are they really fighting in a standard-issue wrestling cage? I mean, come ON, guys. We're nerds here. We can't make subjective judgments about fictional characters completely outside of canon if you don't at LEAST tell us how the fights are set up.

Do people with followers get to bring some along? What about Perrin—one of his basic powers is calling on wolves for help. So can we assume he's got a pack of them with him? Do the sf characters have guns? Can Vin assume everyone she'll fight will have metal on them, or can we assume they will each know the person they're fighting and be able to prepare?

Okay, yes, I'm overthinking this. But don't tell me you weren't too. Anyway, here's my input on the two matches I've got some responsibility for:

Perrin against Tasslehoff. Really. We're doing this? Okay, well, here's what we've got. Perrin is an extremely skilled fighter whose very nature (being ta'veren) causes probability to warp around him and bring to him the things and people he needs at the moments he needs them. He has a power-forged hammer, the allegiance of tens of thousands of trained soldiers, and the ability to call upon hundreds of wolves if he really needed to. He is a berserker on the battlefield, and has the power to move in the World of Dreams, where he has near-absolute control of his surroundings. He is guarded by Aiel warriors and two powerful Asha'man who can wield the One Power that made Rand such a force in the previous tournament.

Tasslehoff has a stick that throws rocks.

Okay, I'm underplaying it. Tas is a clever, brave little guy. (Actually, I think he may be immune to fear or something.) He's prone to have a few tricks up his sleeves, magic items stolen here or there. But he's also got a childlike view of the world, and has nowhere near the ruthlessness that Perrin has been forced by fate to learn. Tas can't win this fight. I declare that this battle plays out like so: Tas defaults on his match by not showing up. He's off picking Jon Snow's pockets. Perrin wins. (And Wheel of Time fans, don't prove me wrong. We'll never live it down if Perrin loses to Tasslehoff.)

As for Vin and Logen Ninefingers, this is a far more even battle. To put the duel on better footing, I'm going to say that this is Vin before certain events toward the end of Mistborn 3 that would make the fight wildly unfair. Also, I'm going to remove atium (which would let her see the future and win any battle she wants) from her repertoire for now. (If she has to fight Zedd, all bets are off.)

So, she's a very, very talented Mistborn, capable of greatly increased strength, greatly increased speed, near-infinite endurance, supernatural sensory abilities, the capacity to change a person's emotions at will, virtual immunity to metal weapons, the power to kill at range with coins shot at high speeds with expert precision, the ability to ignore many wounds and heal at an accelerated rate, and telekinetic powers that allow her to vault long distances and remain in the air when needed.

Okay, so maybe it's not much of a fair fight. (This is what I was talking about.) Logen is a toughened warrior, very careful, but also capable of turning into a crazed berserker who doesn't feel pain. But that's not enough to face Vin. She's out of his league. This fight goes on for a while, but he can't get to Vin, who hovers outside of his range and flings back any weapons or arrows he uses against her. She pelts him with coins, then takes his head off with a six-foot-long koloss sword.

Alan Romanczuk

Harriet McDougal Rigney

Ted Herman

Brandon Sanderson

Harriet McDougal Rigney

Brandon Sanderson

Richard Fife

Maria Simons

Brandon Sanderson

Maria Simons

Audience

Maria Simons

Terez

Brandon Sanderson

Maria Simons

Alan Romanczuk

Maria Simons

The ending itself was already written by Robert Jordan, and it is a fantastic ending. The notes that Robert Jordan left include a quite extensive list of what happens to each major character, and I'm writing their fates according to his wishes.

It will definitely be hard to know that when the final book comes out, we won't be seeing any more of these characters who we have come to love since the first book came out. But it would have been much harder if we never got to see the end that Robert Jordan had planned. I'm honored to have had the chance to get inside the characters' heads for a couple of years, though it's still a bit sad for me that I don't get to read a new Wheel of Time book at the same time everyone else does.

Perrin was the easiest, for the same reasons as I called him my favorite above. Mat was the hardest for me to write, because his humor is so different from my own.

The ending has already been written by Robert Jordan, and as a reader I found it extremely satisfying when I reached it. And so I feel very confident that the ending of the next book is going to be what everyone has been hoping for and wanting—without being exactly what they expect. I think the ending that Robert Jordan wrote is just wonderful. But in another respect I'm a bit sad, because I won't get to experience the ending for the first time when a new Wheel of Time book comes out in the bookstores like everyone else will.

If you do a search online you can find a few words that Robert Jordan said about the closing sentence of the Wheel of Time before he passed away. It's out there in an interview. I won't say whether it's going to stay that way or not, because essentially what he says is "This is what it would be if I wrote it right now, but it often changes" and things like that. He wrote it, not me, so I don't feel right giving a spoiler on that. But if you look around, the interview is out there where he said some words on it.

Brandon said that when he arrived at Harriet's and asked to see the ending and got the pile of Robert Jordan's notes including the ending, on top of that pile was a message from a fan in the form of a dialogue between a Sherlock Holmes character and a Watson character with a note from RJ saying "this is right". Emily asked if it was from Matt Hatch and Brandon didn't think it was. He said that he can probably give send me that message so we know exactly what RJ said "this is right" to.

Footnote—Terez

Maria told me that she is the one who found the Sherlock Holmes thing and gave it to Brandon. Matt Hatch was one of the most anti-Graendal Asmodean-obsessed folk out there, so Emily's comment is funny (though I'm sure Matt is flattered that she thought of him).

Jonathan B

This is apparently all of the information that is available from RJ himself about the actual method of Asmodean's murder. In Brandon's vision of the story, he imagines Graendal killed Asmodean (did the deed herself) with balefire, but apparently this is not in the notes. So its possible that it could have been done by another kind of weave and we are free to speculate on that.

I then asked about the RJ quote where he said that the place and the method of Asmodean's killer both mean that he couldn't come back.

Brandon Sanderson

Brandon said this was also a RAFO as he couldn't tell us why the place was important at this point without giving something away. He seemed to know something about this reason (there is probably information about why someone killed in the place Asmodean was couldn't be brought back by the Dark One). I asked if whether "where" referred to the city of Caemlyn or something else and this was also a RAFO.

He also said that RJ's answer to WSB "The Dark One couldn't bring back Asmodean because of the combination of two factors: HOW HE DIED and WHERE HE DIED. Not one or the other, both factors." might be interpreted as both factors (each alone) would have prevented the DO from bringing Asmodean back (and not just one or just the other) OR both factors (each alone) were not sufficient to prevent the Dark One from bringing Asmodean back and the combination of both was required. It seemed to me like his vision of it was more the first answer than the second (both factors each alone would have prevented it).

Jonathan B

I am guessing that we will learn about that in either A Memory of Light or the encyclopedia, but probably A Memory of Light. My personal theory is that there is perhaps some kind of magic tied to the city of Caemlyn that makes the Dark One's power be lessened within that city itself and perhaps he cannot bring back anyone killed there. This is perhaps also a reason that he wants to make a strike at the city of Caemlyn with all of the Trollocs very soon.

I'm not just filling in holes. At the same time, I'm trying hard to keep anything RJ said in mind, and trying to make the book fit his vision.

It's a tough balance. There is a lot of work to be done, depending on the character in question. For example, for The Gathering Storm, he left a lot on Egwene, but less on Rand. In Towers of Midnight, a lot on Mat, less on Perrin. He left a lot of notes on how everyone should end up after the Last Battle, but often didn't say how they'd get there.

One of the things I've been impressed by is this: Harriet and Tor could have hired a ghost writer and pretended that RJ finished the book before he died. People would have believed them. However, while a ghost writer could have imitated RJ's voice, Harriet felt she wanted a fantasy novelist to do it. First, to be honest to the fans. Second, because there was enough work to be done that the person couldn't just connect dots, but would actually have to build parts of the story.

She gave me complete creative freedom to do what needed to be done, with the understanding that she would edit. (If you don't know, Harriet is one of the 'greats' in sf/f editing. She edited Ender's Game, for example, and may of the big fantasy and sf authors during the 70s and 80s. She discovered RJ, edited him, then married him.)

So, when I go wrong, she is there to push me the right direction. It's hard to answer a question of how much is me, and how much is RJ. His fingers are on every scene, as I'm trying to match the character voices (but not his writing style exactly) and get them right. Most scenes come from at least a comment in the notes here or there, and for some, he left a paragraph or two explanation. For others, he wrote the entire thing.

For some, I'm building it from the ground up, taking where the character was at the end of Knife of Dreams and giving them a story that earns them the ending RJ mentioned for them.

I felt, reading it, that Robert Jordan's ending was deeply satisfying. I liked it a lot. It is also weird to know that, to one extent, it's all over.

rahvin37

I realize this is an older thread, but I just wanted to say how pleased I am to see this comment. Before I found WoT I never thought I'd enjoy reading. I grew up with this series, and I'm so happy to hear the ending is a good one.

I am a huge fan of your work; especially Mistborn and The Way of Kings. Thanks for doing the AMA :D.

BRANDON SANDERSON

My pleasure. Thank you for reading.

Of course I'm very pleased at the reception of The Gathering Storm and Towers of Midnight, because when I first started working on this, I had visions of Wheel of Time fans burning down my house.

(Laughs.) Well, Wheel of Time fans are very hardcore! I actually received a number of very politely phrased threats, with a little smiley at the end. You know, you're just not sure how to take the "I'm very glad someone's finishing this. By the way, if you screw it up I'll burn your house down. Smile smile, wink wink, we're all behind you!" So the fans can be really daunting, and working on this was really daunting for me, since I've been reading these books since I was a kid. But I'm very pleased to not have had my house burned down.

I'm still very aware of the mistakes I make, and I'm also very aware that this is not my series; this is not me, it doesn't belong to me. And every time I make one of these mistakes, it reinforces the idea that these are Robert Jordan's books, and I'm a last-minute pinch hitter. I'm not someone who sauntered in to take it over and make it his own.

So am I pleased? Yes I am, but at the same time there's still that sense that I'm doing something that I wish didn't need to be done, which leaves it as a very weird situation still. I'm very happy that, in general, people have liked the books, and I am sad to have failed those who felt that they don't work, because there are those who my efforts are not going to be enough for. But overall, the reception has been very positive.

But I wouldn't say I'm confident; I don't think this is the sort of thing I can be confident about. Though I suppose I can be; I'm confident that I was the right choice, that if someone was going to have to do this, that I was the right one to pick. And I'm confident in the storytelling choices I made, yet at the same time I know that I don’t 100% belong here.

So it's a very hard question for me to answer for those reasons, but I hope that what I'm doing and what I'm striving to do with this last book will get the story to the closest way that Robert Jordan would have done if he were here. And I just hope we can all get the ending we want to read.

Foreshadowing

People have been asking me to expand on that essay, though it was written (originally) to be part of a series I did on writing The Way of Kings. I never had the time, however, and that was the only one that was fleshed out, so my assistant suggested it might be a good fit for a Scalzi guest blog. However, I do worry that some of the ideas are unformed, as it was written to come after several other essays I was planning.

The short answer to your first comment is a yes, you are right. The realization I came to while working on The Way of Kings was that I was so accustomed to writing self-aware fantasy in the Mistborn books that I was searching to do the same with Kings. While anyone can enjoy Mistborn (I hope) it works best as a series for those who are familiar with (and expecting) tropes of epic fantasy to come their direction. That allows me to play with conventions and use reader expectations in a delightful way. But it also means that if you don't know those conventions, the story loses a little of its impact.

But this is an interesting discussion as to the larger form of a novel. Is it okay, in an epic fantasy, to hang a gun on the mantle, then not fire it until book ten of the series written fifteen years later? Will people wait that long? Will it even be meaningful? My general instincts as a writer so far have been to make sure those guns are there, but to obscure them—or at least downplay them. People say this is so that I can be more surprising. But it's partially so that those weapons are there when I need them.

It often seems to me that so much in a book is about effective foreshadowing. This deserves more attention than we give it credit. When readers have problems with characters being inconsistent, you could say this is a foreshadowing problem—the changes, or potential for change, within the character has not been presented in the right way. When you have a deus ex machina ending, you could argue that the problem was not in the ending, but the lack of proper framework at the start. Some of the biggest problems in books that are otherwise technically sound come from the lack of proper groundwork.

In the case you mentioned, however, I think I would have cut the creature. Because you said it was slowing things down. There's an old rule of thumb in screenwriting that I've heard expressed in several ways, and think it works well applied to fiction. Don't save your best storytelling for the sequel. If your best storytelling isn't up front, you won't get a sequel. Of course, once you're done, you do need to come up with something as good or better for the sequel, otherwise it might not be worth writing.

For The Way of Kings, I've had to walk a very careful balance. I do have ten books planned, but I had to make sure I was putting my best foot forward for the first book. I had to hang guns for the later novels, but not make this story about them—otherwise readers would be unsatisfied to only get part of a story.

Question for you, then, Brent. Have you ever planned out a story to be a certain length, then ended up deciding there just wasn't enough there to justify it? I had trouble learning this balance as a younger writer, and some of my readers know that I wrote two failed books (one called Mistborn, the other called The Final Empire) in which neither one had enough material to form a novel. It wasn't until I combined the ideas and story together and wrote Mistborn: The Final Empire that everything worked.

Will the series EVER END?

Edit: I swear, my wife is karmic poison. This was her question. She's a huge fan of the Wheel of Time but wants some resolution.

Don't mind the downvoters, Warlizard. I'm sure people just are worried about me taking offense. They forget that I've been involved as a fan with this series for twenty years. I've felt the feeling you express several times during my history with the WoT—and I bet most of us have.

It WILL END. I am about halfway through the final book. I have told Harriet that I would prefer that we not do any more books, as to not exploit RJ's legacy. Even if she decided to do those (the other two prequels RJ mentioned, for example) the real ending to the series is here.

Also, on another note, I've watched many of your posts and been interested in your publishing experiences. I find that you often have very useful things to say, and are a real strength to the reddit writing/publishing community. I don't always agree with you, but what you bring is very engaging. So thank you for what you do. I'm going to have to read one of your books, eventually. (I'm sorry that I haven't gotten to them yet.)

Warlizard

Thanks for the response. Just told my wife and she said, "Oh thank GOD!" It's a bit like watching Star Wars, having Empire finish up, then waiting 6 more books to find out if Darth Vader is REALLY his father.

I know there has to be vast pressure to continue writing books and not just because of the financial aspects. People want to read them more about that universe and it's hard to deny them that.

I don't mind the downvotes. Reddit has been pretty good to me and I wouldn't have put out any of my stories if the feedback hadn't been so strong and persistent. I always give away the books to Redditors first and put 'em up on Amazon second as a way of saying thanks.

I appreciate your kind words and if you'd like a copy of anything I've written, please feel free to PM me an email address were I can send them.

Yes, I do feel that desire to get on to Stormlight 2. However, this is not a new feeling. In every book—at about the 50% mark or so—I want to be moving on to the next book. By then, I've already done a lot of the exciting things in worldbuilding and discovering characters, but I'm not yet to the exciting ending.

This is a challenge for a lot of writers. I know Neil Gaiman has spoken on it before. I have trained myself to remain focused on the project at hand.

Jezrien

Do you ever take breaks away from A Memory of Light and go over notes and ideas for the next installment of the Stormlight Archive?

BRANDON SANDERSON

Yes, I do take breaks and outline other projects (specifically Stormlight.) But not for long.

For a lot of books, I go faster and faster as I approach the ending.

My goal for this one is to be done November 8th, when I go on tour. That means doing about 5% a week, or 15k words. At six days a week, that's very doable. Assuming I don't do any more day-long reddit AMAs...

Fast speed for me is 4k a day. Slow is about 1.5k.

David Lenberg

Brandon Sanderson

David Lenberg

Brandon Sanderson

The question that I have for you is, now that you know the ending of Wheel of Time, after the final book has been released will it be a world that you could set a game in? Or will it be like Tolkien where after the end of Lord of the Rings the world is pretty much over? I ask because it looks to be a great place to set an RPG and I want to know if I should be looking to a time before The Eye of the World or if I should run a new age?

I'm going to stick pretty close to things Mr. Jordan has said or implied regarding this. Things he has said have implied strongly that it is not going to be like Tolkien; though the Wheel will eventually turn to a point where the One Power is forgotten and the land becomes like our world, that is NOT the Fourth Age. I think it would still be a fantastic place to set an RPG game.

Neth

Brandon Sanderson

BRANDON SANDERSON

No. It’s in my head.

QUESTION

What if you die or something?

ROBERT JORDAN

You’re screwed [basically. Heh.]

About the end of the book, as we all know, Jordan explained that he has always had the series’ ending planned. However, he was also careful to mention that he didn’t want all of the minor sub-plots to be neatly tied up at the end of the series. I think he may have been implying that such sub-plots might also make for great (long) short stories and mini-epics.

Regardless of whether or not this is true, it is clear that much will still go unanswered and leave us much to debate about, even after the series is through. In reality, every situation does not get neatly tied up and patched at the end, and after so much conflict in Jordan’s fantasy world, he doesn’t want something that unrealistic to happen there, either.

One of the 'basics' of the magic in all of the worlds is that the energy of Shards can fuel all kinds of interactions, not just interactions based on their personality/role. I did this because otherwise, the Magics would all be extremely limited.

The 'role' of the Shard has to do with the WAY the magic is obtained, not what it can do. So, in Preservation's case, the magic is a gift—allowing a person to preserve their own strength, and rely upon the strength granted by the magic. While Hemalurgy has a huge cost, ending in net entropy.

I'm not going to waste Brandon's time with this—maybe someone else can answer.

Regarding the ending of the Mistborn Trilogy: What was up with Ruin having red hair? Is that significant? Does it mean that Ruin was originally a human who gained his powers somehow? My friend thought that Ruin was actually another red-haired character in the series, though I don't remember his name. I think he was a minor captain or something.

(My apologies for how vague this is—it's been a while since I read the series)

Phaz

That is on the right track. Do some reading up on Adonalsium and the Cosmere if you are interested.

Dovienya

Will do, but I have to be honest—there is something off putting about having to do internet research to truly understand the ending of a book/series.

I try to make all of the cosmere stuff "bonus material" so to speak. I don't think it's essential to understanding Mistborn to know Ruin's origin. Those who want expanded information can find it, and theorize upon it. However, I intend to warn people up-front before writing any book where you have to know this to understand it.

Within the realm of Mistborn only, all you really need to know is that someone was holding this power—and that the 'individuals' of Ruin and Preservation were people, changed by the power they held. It holds to the theme of the story, with what happens regarding Sazed and other characters.

Okay, A Memory of Light is going fine..the book is awesome, but it feels like I've been working on it FOREVER. I need some motivation, so...

BRANDON SANDERSON

I'm going to start doing what I did last year. If I hit my wordcounts, I will open a pack of Magic cards as a reward. Yes, I'm a nerd.

BRANDON SANDERSON

People are asking how close the draft is to being done. Close, but I keep realizing there are points that need expanding.

BRANDON SANDERSON

Current length of A Memory of Light: 313,000 words. Towers of Midnight—the longest of the two I've done so far—was 335k. A Memory of Light will be at least that long.

BRANDON SANDERSON

It WILL come out next year, and will not be split again. I'm close to the end, but still have several weeks worth of hard work to do.

SKYLA GRIMES

Is there a word-count length that you are encouraged not to exceed?

BRANDON SANDERSON

Over 400k would really be pushing it.

BRANDON SANDERSON

And, as 5:00 rolls around, I have managed (barely) to hit my 2k wordcount goal so far today. Time for a Magic pack!

BRANDON SANDERSON

This one was sent to be by a fan, via my Amazon wishlist. (No name was included.) Whoever you are, thanks! The rare is: http://gatherer.wizards.com/pages/Card/Details.aspx?multiverseid=246954

LOCAL VIEWER

Is the infamous last scene Robert Jordan left behind already part of the 313,000 words?

BRANDON SANDERSON

No, it is not. So the 'finished' length is actually longer. I haven't put that chunk in yet.

JEFF

Is your average word count goal/day usually 2k?

BRANDON SANDERSON

On a WoT novel, which is much harder, that is a fair count. On something simpler, 3-4k is average.

DONAGH MARNANE

I'm just wondering why you have a daily wordcount—surely the quality is more important than the length?

BRANDON SANDERSON

I believe that daily goals are important, as crafting a great book requires work as much as it does inspiration.

BRANDON SANDERSON

Laying down a rough first draft, then polishing over and over, is the path I've found to creating excellent work.

AUSTIN MOORE

Have you written through the ending for all the main characters? If so, is the rest just "expanding" scenes out?

BRANDON SANDERSON

Not all of them yet. Just a few.

ROBYN ESTERBIZZLE

You are working on the final book in an epic series that people have been reading for decades and you need a game for motivation?

BRANDON SANDERSON

Even when you love what you do, it can be hard to work 12 hour days to finish a book after an exhausting tour.

There's Birgitte.

VIRGINIA

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]

MARIA SIMONS

Um...

ALAN ROMANCZUK

Interesting speculation. [laughter]

VIRGINIA

Which is going to go nowhere!

MARK

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]

ALAN ROMANCZUK

Oh, was that a question?

VIRGINIA

Well, sort of!

ALAN ROMANCZUK

No, you're doing well; keep going. [laughter]

MARK

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]

VIRGINIA

Well, I guess this is something that we're just gonna have to hopefully read and find out...

MARIA SIMONS

Yeah...

VIRGINIA

…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...

ALAN ROMANCZUK

That would be a shame. [laughter]

VIRGINIA

I'm not sure where that will leave us. Endlessly speculating till the Wheel stops turning…

MARIA SIMONS

There's no beginning or ending to the Wheel of Time.

MARK

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.

VIRGINIA

Impossible.

MARK

I can see it.

VIRGINIA

Physically impossible.

MARK

You'll learn your letters so you can read Robert Jordan in the cradle. [laughter]

SPENCER POWELL

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.

VIRGINIA

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.

SPENCER POWELL

Yeah, probably.

ANDREW GELOS

Yeah, probably.

MARK

Well, not in the cradle, but I was itty bitty when the first book came out.

SPENCER POWELL

I think I was still in the cradle.

MARIA SIMONS

Wow. I feel old.

MARK

Yeah, that's cause he…that's cause you're just…

SPENCER POWELL

I am twenty. I'm not even twenty yet, so...

MARIA SIMONS

Oh my gosh!

MARK

You weren't even born when the first book came out, buddy.

JENNIFER LIANG

Oh, wow.

VIRGINIA

There you go.

JENNIFER LIANG

Whoa.

MARIA SIMONS

Oh, wow.

VIRGINIA

Yeah, but they still put up with me, and I think I'm older than Cad-swayne. Is that right? Cad-swayne? Cad-swanee?

MARIA SIMONS

Cad-swayne!

VIRGINIA

Oh, yay! Whew. So far I'm...

SPENCER POWELL

Except that we know that Cadsuane is a couple hundred years old, which, you know, is older than the country.

JENNIFER LIANG

Yeah.

MARIA SIMONS

Yeah.

VIRGINIA

Okay, so I'm not quite older than Cadsuane...

MARK

You come close.

VIRGINIA

Yeah, I feel like it. Anyway, enough of that...

MARK

You're as old as Re-anne. Or is it Re-annie?

MARIA SIMONS

Re-AH-nah.

VIRGINIA

Re-AH-nah, okay.

MARK

Ah.

SPENCER POWELL

That's on that list.

JENNIFER LIANG

Yeah, I've been saying that one wrong the whole time.

VIRGINIA

In general, are ending Es pronounced in the Wheel of Time names, like Reanne?

MARIA SIMONS

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.

VIRGINIA

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.

MARIA SIMONS

That's interesting. I say my-RELL. I'm not absolutely sure that's the way Jim said it.

VIRGINIA

Okay, what about lee-AHN, or is it lee-AHN-uh?

MARIA SIMONS

lee-AHN-uh is correct. That one is Leanne. And Reanne.

VIRGINIA

Yay!

ALAN ROMANCZUK

I believe that Myrelle…it's my-RELL.

VIRGINIA

my-RELL?

ALAN ROMANCZUK

my-RELL.

VIRGINIA

You pronounce the Y?

ALAN ROMANCZUK

Mm-hmm. Like 'my'.

VIRGINIA

Okay, good.

I've said that what I love about fantasy is that it can do anything any other genre can do, plus have that added sense of wonder. So I've wanted to explore different types of what fantasy can achieve. The steampunk movement is awesome for doing this. I don't actually consider this book to be steampunk, because the Victorian feel and steam technology aren't there, but it certainly is a cousin to what is happening in steampunk.

At its core, really what I've done is write a detective novel. A buddy detective novel set in an early 1900s industrial age equivalent, in a fantasy world where the epic fantasy that I wrote as a trilogy (Mistborn) has become the mythology for this new world. That concept excited me. What made me do it? The idea that I could, and that I hadn't really seen it done before. That's what fantasy is all about.

I usually save questions like this. Wait until the book is out, wait till it's been out for a little while, and then I can talk specifically about what was me and what was Jim. I don't want to predispose people so that they're thinking "Is this Jim's scene? Is this Brandon's scene? Well he said something about this, and whatnot." So the only thing I'm telling people, regarding his writing, is that I do have a thing from the prologue, each of the three have one of the scenes that he wrote for the prologue put in it, and of course the ending. And other than this, I'm not saying a ton about what is his and what is mine. Just wait until people have read the book, and then I'll start answering a few more of those questions.

Like I've down with Towers of Midnight and The Gathering Storm. I've been a little more free in recent times about what was me and what was him, and I'm still not very specific for you, I don't want that focus, but I will start answering more of those questions.

Like many of you, I was shocked when he passed away. I'd been following the blog, and he'd been very optimistic on his blog. He had this force of will, force of optimism. You know, even though he had a terrible disease, I was sure he would make it. And then he was gone. And it was a very strange moment for me to realize that because when he died, it was like my high school friends had all died at once. And I wondered and felt that that might be the end of it all. Um, yeah. . . little did I know.

About three weeks later, I got up in the morning at the bright hour of noon. I picked up my cell phone to check my voice mail, which is usually the first thing I do in the mornings. And I was just groggily. . . I turned it on and there's a voice mail from a number I don't recognize, and the voice comes on and says, and this is an exact quote:

"Hello, Brandon Sanderson. This is Harriet McDougal Rigney. I'm Robert Jordan's widow. I would like you to call me back. There's something I want to talk to you about."

I just about fell out of the couch, which is kind of hard to do, because. . . you know. . . yeah. I mean, I listened to that voice message three times in a row, and then nervously dialed the number back, and it rang, and it rang, and she didn't answer. So I nervously called my editor, and he didn't answer. And I nervously called my agent, who always answers, and he didn't answer. I eventually got smart and called up Tor, and got a hold of Patrick Nielsen Hayden, who said, with kind of a smug tone, "Oh, that. Yeah, it's probably what you think it is. I'll have her call you back." And I'm sitting here thinking, "What do I think it is, Patrick? Tell me something!" And he wouldn't. And so, eventually Harriet called me and said, "Well, I'm putting together a short list of people. And I was wondering if you would be interested in completing the Wheel of Time."

That night after I'd said yes, I laid in bed that night unable to sleep because I was terrified by what I had just done in saying yes to this. Particularly because that night I came to realize something. Something very, very frightening. And what I realized was that I could not write as good a book as Robert Jordan would have written for the ending. I realized that nobody could. I couldn't replace him, and no one could. We should have had him to finish this series. And by saying yes, I had agreed to in small part to something at which I would fail, at least in part, because no one can replace Robert Jordan. As a fan and as a professional writer, I realized that the next best thing for me in having Robert Jordan complete the book was to do it myself because then I could know that it would not get screwed up. I realized that if I said no, and then someone else did it and did a poor job, it would be partially my fault. And that in taking up this project, I could bring them back. Robert Jordan had passed away, but that didn't mean that Rand and Egwene and Mat and Perrin and Avi and Cadsuane and everybody had to be gone. I could at least bring them back for everyone else. And I realized with a really powerful emotion that I needed to do this book. I had to do this book, because of all the people in the world, I would screw it up the least.

Scene I'm working on needs to be trashed and rewritten from a different viewpoint. Ah, well.

BRANDON SANDERSON

Okay, the scene is working much better now. Basically, a half-day lost, but it is worth backing up if something isn't working.

JOE LAVOIE

When you say a scene isn't "working" what does that mean? Bad mojo, doesn't feel right, or its there a technical reason?

BRANDON SANDERSON

All three, actually. Mostly, it just feels wrong.

BRANDON SANDERSON

And it is fixed now. Hard to judge my wordcount today, since I spent time fixing, but I'm opening a pack of Magic cards as a reward.

BRANDON SANDERSON

Current length of A Memory of Light: 335,000 words, same size as Towers of Midnight. And I haven't finished yet, nor have I added in RJ's ending.

BRANDON SANDERSON

Even with edits, this will be the longest of the three WoT books I've done. Don't worry about it being split, though. That won't happen.

DANIEL ANDERSON

Is RJ's ending ready for primetime? Or do you have an outline of how it is supposed to go?

BRANDON SANDERSON

I should be able to put it in without changing anything other than a quick smoothing of the language.

SISTER INFANT

Will there be any indication in the book as to when RJ's ending starts? Like a footnote from you or Harriet or something?

BRANDON SANDERSON

No, but I will tell you once the book is out, after you've read it.

JOHN ANDERSON

Hello! Just wondering, was the Borderland Tower sequence in Towers of Midnight (with Malenarin Rai) originally part of RJ's prologue?

BRANDON SANDERSON

He wrote most of that scene himself, actually.

JOHN ANDERSON

Cool! Are you allowed to say whether it was part of his prologue (which I gather you split and distributed over The Gathering Storm/Towers of Midnight)?

BRANDON SANDERSON

Yes, it was.

JOE KOGELMANN

What was the logest of all the WoT books? How many words?

BRANDON SANDERSON

Longest ones have been around 390k words. Books Four and Six. I forget which was the longer.

STEPHEN HART

Any chance of reading these alternate scenes once A Memory of Light is released; on your website maybe? Kinda like DVD deleted scenes...

BRANDON SANDERSON

Maybe.

GREG LINDSEY

Why do you suppose Wikipedia is inaccurate, saying Towers of Midnight [is] 325,998? Should it be edited? Are those word counts reliable?

BRANDON SANDERSON

Likely, theirs is without the glossary, which I just noticed mine has in it.

BRYAN

but but but...Wikipedia says Towers of Midnight is 325,998 words! Who to trust, Wikipedia or the author!? *brain explodes*

BRANDON SANDERSON

Just noticed my edocument has the glossary attached. Maybe that's the reason for the difference. Mine is pre-copyedit too.

DASUGO

You usually go through a vicious edit phase right?

BRANDON SANDERSON

Yes. I tend to cut 10%, but Harriet's suggestions have usually added about that much, and we've balanced at the end.

Many thanks, all, for the birthday (and Koloss Head-munching Day) wishes! You are all awesome. To celebrate, I'm writing A Memory of Light. ;)

BRANDON SANDERSON

To get ready for today's writing, I have put on my "Blood and Bloody ashes" shirt from Ta'veren Tees. (https://taverentees.com/threads/)

BRANDON SANDERSON

Note that my wife stole my Koloss Head-Munching Day shirt for the day, which is why I'm not wearing it. (http://store.inkwing.com/happy-koloss-head-munching-day-t-shirt)

BRANDON SANDERSON

Also, for A Memory of Light, I did finish the early-book material I'd left for later, and am back at the ending. My shirt is very appropriate today.

BRANDON SANDERSON

Hm... I haven't given any good A Memory of Light teases today, have I? Well, right now, one of the Forsaken is wearing the image of another Forsaken.

POOKA

And I was hoping you would say one of the Forsaken was wearing another's pants.

BRANDON SANDERSON

Well, that too, of course.

I really enjoyed Warbreaker, especially the history of the Scholars and their relationships. Have you considered writing a prequel novel that would take place when Vasher, et al were much younger?

People ask me for prequels all the time. They've asked for Mistborn prequels, Elantris prequels, and now Warbreaker prequels. My general answer to this is probably not—just because I as a reader don't like prequels. I'm one of those readers that if the ending is spoiled for me, in many ways that can ruin the book. Because of that it's hard for me to decide to write a prequel.

When I plan my books I design them to have a beginning, a middle, an end, and a past and a future. I know what happened in the past. I know what will happen in the future. I could always write that, and I won't rule it out 100% completely. But telling the story of the Five Scholars is not something I sat down to do with Warbreaker. I had that all worked out; I knew what they did. The exciting story I wanted to tell is the one that happened in the book. There is a good chance of a sequel, but a prequel is unlikely. If I did do a prequel it would probably be in short story form posted for free on my website.

Still hard at work on A Memory of Light. Today's scenes involve lots of loud noises.

MARK HOWARD

Just curious, have you read the end scenes that RJ wrote? Or are you waiting till you get there?

BRANDON SANDERSON

I read them as soon as I got them. I needed to use them as a target 'goal' for the book.

BRANDON SANDERSON

Now, on to a scene that finally, at long last, fulfills something Min saw long ago...

BRANDON SANDERSON

I've finished all characters except Rand and Mat. (Note, I'm not writing in order; other characters have already-written scenes after this.)

BRANDON SANDERSON

Now, I have to finish Mat's climax, write a few more Rand scenes, then add in RJ's ending material. Then we're done. Very close now.

PATRICK

What are your thoughts on ending the WoT series that Robert Jordan started so long ago? :)

BRANDON SANDERSON

Solemnity.

BRANDON SANDERSON

After a few hours with the family, am back at work on A Memory of Light. It's slightly possible that I'll finish it sometime during the night.

JENNIFER LIANG

Would that make tonight A Memory of Light Eve?

BRANDON SANDERSON

Ha. Yes, I guess it would.

BRANDON SANDERSON

You can follow along, if you wish. I have twenty small points on my outline left to hit. Maybe 10k words or so. I'll tweet as I pass them.

BRANDON SANDERSON

First scene out of twenty finished. (Note that I'm using 'scene' here liberally to mean a point on the plot outline.)

FRANK KWIATKOWSKI

Can you tell us who has the last chapter?

BRANDON SANDERSON

Afraid that would spoil too much.

BRANDON SANDERSON

Note that as I approach an ending, my writing speed goes up, as I get momentum. 10k tonight is not impossible. (Though most days I do 2-3.)

BRENT WEEKS

Good luck!

BRANDON SANDERSON

Thanks!

BRANDON SANDERSON

Two out of twenty scenes done. Eighteen left, and A Memory of Light will be finished.

BRANDON SANDERSON

Three out of Twenty of the remaining scenes in A Memory of Light have been finished. (If you're just now seeing this, check back to my last few posts.)

MARCUS ENGSTROM

How long was it after the first two books were finished until they were published?

BRANDON SANDERSON

For the first one, about a year. For the next, about six months. This will probably be closer to the first than the second.

BRANDON SANDERSON

Scene four was slightly shorter than the others. 4 out of 20 finished so far tonight.

BRANDON SANDERSON

Scene #5 finished. 25% through the ending of A Memory of Light. Feeling good about these scenes. All is going very well.

BRANDON SANDERSON

Some of you have asked if I got the Magic cards you sent me off of my Amazon wishlist. I did! I'm waiting to open them until I'm done with A Memory of Light.

BRANDON SANDERSON

A few of these scenes are pretty emotional ones for me. It's been a long, long road. I started reading the WoT twenty-one years ago.

BRANDON SANDERSON

Just finished scene #6 out of the 20 remaining in A Memory of Light.

BRANDON SANDERSON

Scene seven is done. Thirteen more to go. This one...this one was tough to write.

BRANDON SANDERSON

I've apparently inspired a drinking game with this on both Twitter and Facebook. I'd join in, but: 1) Mormon. 2) BUSY WRITING END OF WOT. :)

BRANDON SANDERSON

Scene #8 is a tricky one. I know how it has to go, I just need to do it carefully. Getting close to having it right.

BRANDON SANDERSON

Scene #8 is finished. This is going well. I often build momentum like this during a powerful book ending, and this one is very powerful.

BRANDON SANDERSON

We shall see. We've still got three or four hours before I'd normally turn in for bed. If I start to get sleepy, I'll call it for the night.

BRANDON SANDERSON

No sense in pushing on if the quality starts to flag. Knowing myself, though, I'll be too excited to be tired for a while yet. Onward!

LOCALPCGUY

Glad to hear things are ending well! I can't wait to read it. Think I have time for a full re-read before A Memory of Light?

BRANDON SANDERSON

Depends on how quickly you read. :)

DAVID MACKAY

Cannot wait, but I agree. Is it really going to take a year to edit and publish?

BRANDON SANDERSON

I've done a dozen drafts each of the previous two books. That kind of thing takes a little bit of time...

BRANDON SANDERSON

I just did something to Mat that I've been gleefully waiting to do for three years.

BRANDON SANDERSON

Don't stress the thing I did to Mat too much. It's a little (and fun) thing I've wanted to see him do for a long time.

BRANDON SANDERSON

I have finished scene #9 out of 20 I need to write before A Memory of Light is done.

AVI DOBKIN

Best of luck to @BrandSanderson as I turn in for the night. I'm giddy for A Memory of Light.

BRANDON SANDERSON

Hopefully, you will wake to find the book finished.

CHRISTINA BOULARD

It's almost 3:30am here and I SHOULD be in bed, but I feel like I need 2 stay up and cheer you on and also to witness THE END!

BRANDON SANDERSON

Ha. Well, there are still hours left to go, I suspect. I started at...what, 9:00 here? I'm to 1/2 and it's almost 2:00?

BRANDON SANDERSON

For those asking, it's almost 2:00 am here. The night is still young.

BRANDON SANDERSON

Just finished Scene #10. Halfway there!

BRANDON SANDERSON

I don't expect it to go longer than those. After editing, I'm pretty sure we'll settle at 350-360k words. (About 10% longer than Towers of Midnight.)

BRANDON SANDERSON

Brace yourselves. I just finished the last Mat Cauthon scene that, in all likelihood, will ever be written.

FRANK KWIATKOWSKI

General writing question: after The editor edits, is it typical for an author to add/rewrite, or only the editor?

BRANDON SANDERSON

Only the author rewrites or adds. Never the editor. (in most cases.)

BRANDON SANDERSON

The fourteenth scene was Mat's, and now I've finished the fifteenth scene. Five more to go, and A Memory of Light is done.

BRANDON SANDERSON

Just finished scene #16. Four more to go. Guess I'm not stopping tonight, eh?

BRANDON SANDERSON

Scene #17 is finished. I was a tad on the longer side for the ones I'm doing here, as are the last three. 5:00 am here.

BRANDON SANDERSON

I keep flashing back to times I've read the WoT books through my life. Looking back, you could call Rand/Mat/Perrin my oldest friends.

BRANDON SANDERSON

Scene #18 is done. Two more to go.

BRANDON SANDERSON

Scene #19 is done. Deep breath. I'm beginning the last scene I will write in the Wheel of Time, then will add RJ's ending.

BRANDON SANDERSON

I've been listening to Pandora as I do this, but am wondering if I should pick a specific song to listen to as I finish. Suggestions?

BRANDON SANDERSON

My choice for a song to play as I write the last few paragraphs here: http://www.youtube.com/watch?v=h-0G_FI61a8

BRANDON SANDERSON

Ladies and gentlemen, A Memory of Light—the final book in The Wheel of Time—has been finished.

BRANDON SANDERSON

Now I'll open a metric gigaton of Magic cards that have been sent to me by fans, sleep for a day, and rest until next week.Then: revisions!

BRANDON SANDERSON

As for when the book will come out, Tor should do an announcement soon. Revisions will take a good six months. So fall, I expect.

BRANDON SANDERSON

Another common question: How many revisions will I do? The last two took about a dozen. (On non-WoT books, I do about seven or eight.)

BRANDON SANDERSON

Also, it's going to be tough to give direct replies to questions right now, what with like 1000 people tweeting/facebooking at me. :)

BRANDON SANDERSON

But lots of people are asking about outriggers/prequels. The answer is still the same. We'd rather not risk exploiting RJ's legacy.

BRANDON SANDERSON

It is a step I don't think we want to take. Better to stop while we're ahead. I'm sorry, but they probably won't ever happen.

BRANDON SANDERSON

And now, yes, I will go to sleep. 7am here. That's 10 hours of solid writing after a full day of solid writing, so I'm beat.

BRANDON SANDERSON

Thank you all for the good wishes. May you find water and shade.

BRANDON SANDERSON (AFTER A NAP)

Ah. Good morning, all. (Yes, it's five in the afternoon here.) Checking email, and...INBOX EXPLOSION. I guess I was expecting it. :)

Well, you know, I started working in 2007 on finishing the series. The last one I started working on January 1st. It's due in November. On my website we have a little... I have a little counter saying how much I've got done. I'm at one quarter right now. That's a little bit deceptive, because I've been jumping around and outlining and building sections later on; and so when I hit them, they'll go really fast. So it's probably more like half done—maybe a smidge more. But it doesn't look like that on the website. You know, I have to turn it in November, so I’m plugging along.

Shawn Speakman

How do you feel about it so far?

BRANDON SANDERSON

I feel good. I feel really good. You know, Robert Jordan wrote the ending himself before he passed away. I just have to get there without screwing it up. And so, that's what I'm doing.

Shawn Speakman

Awesome. Great. I know people have loved the first two volumes that you've had to work on. And so...that's fantastic.

BRANDON SANDERSON

The fan response has been fantastic. I felt really anxious; I feel really anxious every time. And so I guess it won't stop with this last one, but at least with the fan response being so good, it takes a bit of the anxiety off.

Shawn Speakman

Right.

I was really satisfied with it. It was the first thing I read out of all his notes; when I got to Harriet's house for the first time, I read that ending, and I was very satisfied. I really... I think it ties up well.

Shawn Speakman

Great.

Yes, three. The split was decided by Tom, the publisher, and Harriet, who's not only Robert Jordan's wife but his editor for many years. They met before...you know, they got married because of the books, so she's been editing him for many many, years. Robert Jordan had been saying that this book would be big. He'd been saying it would be huge. In fact, he jokingly said they're going to have to sell carts to carry it on when you walk out of the store—it was going to be that big. We're looking at a book that was probably planned at eight hundred, nine hundred thousand words. Which, to give you relevance, a lot of books are around a hundred thousand words. That's a good normal size for many genres. Wheel of Time books, average is about three hundred thousand words. And we're talking about an outline for a nine hundred thousand word novel.

And I tried to write it as one. In fact, my goal was: I approached this as one novel, that's what he wanted, and I sat down and started writing. But the shear scope of that nine hundred thousand words—three times as long as a regular Wheel of Time book—was so large. And Tom Doherty started warning me pretty early, "Look, I know Jim said that this was going to be one book, but I'm telling you what I would have told him, that it's just not feasible to be publishing it as one book." Tom seriously believes that even Robert Jordan—even if he'd been around, it would have been three books.

Tom tells the story...he loves to talk about these things. Robert Jordan came in and pitched a trilogy to him. The Wheel of Time was supposed to be three books. Well, it's now been eleven books and a prequel, and a lot of times the scope of this thing, it takes a lot of work. And I don't want to cut any corners. I don't want to just slap together an ending. I want to give it the time it deserves, and the characters are all over the place, and they're slowly working back together for this conclusion, but it just wasn't right to try and just ram it together like that.

So I was going to write it the length that he was planning to write it. I'm still writing it the length that he was planning to write it. I'm not expanding it. I'm not contracting it. I'm writing it that length. And the realities of the publishing industry are that it needs to be three books at that length. I'm still hoping to convince people to publish it as a one-volume nice hardcover omnibus at the end, but that may be unfeasible. Tom keeps saying, "Boy, I just don't know if that's possible, Brandon." So, we'll wait and see. I'm going to keep pushing for it. But for right now, it is one book in my head, but it is going to be released in three volumes, hopefully fairly quickly.

While I was thrilled to hear the excellent, excellent intro to Alloy of Law, I was a little sad that we didn't get to the Q&A part of the session. So I headed over to the Harvard Bookstore, where he would be signing and answering questions. Now, this bit was a little strange for me. I've met Brandon before (probably a dozen times or so between '06 and '09), all at varying levels of fame, I listen to writing excuses every week, and I follow his blag, so it wasn't "oh my gosh, I get to meet him" jitters. I feel like, in all the ways that I want to, I already know Brandon.

The jitters were probably a combination of a couple of things: (1) I had no desire to have him sign anything, I just wanted to ask Brandon a couple of questions. I've never a big "sign things" person, especially when the signer is a person to me, and not a Figure (if that makes any sense). And (2) this was the first time that I had one-on-one interaction with Brandon while considering myself an agent for a higher group (namely, the 17th Shard). It was a bit nerve-wracking in a way that was completely new to me. Anyway, ending my indulgent self-psychoanalysis...

I figured out the way to overcome (1). Instead of having him personalize it to me, I asked him to write a clue about the Cosmere in my worn copy of Elantris (it's my first Sanderson, and is literally falling apart; the cover is scotch taped on ).

He wrote "Do not go to Shadesmar on this world (really, I'm not kidding)" on the title page, then said to me "You guys can chew on that for a little while."

I like that. I think that I'll bring in all of my books to his next New York/Boston signing and ask him for Cosmere clues instead of signatures.

While I eagerly await the next novel in The Stormlight Archive I recently read your description of The Rithamist as "It’s kind of like playing magical chalkboard Starcraft, in a gearpunk world, told through the eyes of the unmagical son of the cleaning lady." and was instantly intrigued. How is the progress on it going?

zas678 got it below. The Rithmatist MIGHT come out this year, if I have spare time to revise it. I don't know that I will, as other projects come first. It feels bad to leave it hanging all of this time, but my real worry is that it had an ending that implied more books (which is the type of ending I like to write.) That is bad at this juncture. A cool stand-alone is fine, yet another series people will wait to see more of is bad. So I can't release it until I can either support it, or until I can fix the ending to not imply more volumes. That, plus the book needs a heavy draft.

ZAS678

From what I've heard, he wrote it a couple of years ago, but it needs a good 3-4 months of Brandon revisions. So it will be a while, because he really feels like he needs to get out WoT and then Stormlight Archive 2. After that he may write it.

I think those who know our different writing styles will be able to pick out the differences.

BRANDON SANDERSON

It depends on how closely one watches the prose.

It's exciting, to be honest. The characters and setting to this world are so deep, so complex, so FASCINATING that it's going to be a worldbuilder's pleasure to look through the notes and begin work on the project. It will be hard, and it is certainly daunting, but it's also an amazing opportunity.

As you said, a lot of my work is a direct reaction to the fantasy I read when I was young. Not against it, really, but an attempt to build upon it and take the epic fantasy in new directions. Yet, I've always wanted my books to still FEEL like fantasy, and the Wheel of Time is part of what defines what feels like fantasy in our era.

A part of me has always wanted to deal with the classic fantasy themes, which is why Mistborn was about turning them on their heads. The chance to get right to the source and work with a series that defined those themes. . .it's just plain amazing.

I honestly don't know yet. (As mentioned above.) I think we should probably do another interview about this in the coming months, as I will have a better idea.

However, know that I intend to use EVERY BIT of actual written text from Mr. Jordan, and in intend to follow those outlines as exactly as possible. I've been told that there is a substantial amount that I will have to come up with, but I will always have a guide—if only a few lines or dictated explanations.

And, as I understand it, the notes about the ending are very detailed—I think the last chapter may even have been written in full. If that's the case, then I'll be very happy. I would much rather be the guy who writes the middle fifty chapters of this book than have to be the one who writes the last five.

Kafmerchant@323—I admit your posts were glazing my eyes over as I'm not much of a collector, being broke all the time and whatnot. But that is an amazing bit of info about The Shadow Rising. I've always found the approach to be rather odd in comparison to the rest of the series. Not only is there no prologue, but the wind hangs around for quite a bit, and what he did at the beginning of Chapter 9 is pretty unique too. I'm going to put this whole conversation in the interview database, just for that tidbit. If you'd like to post reviews of each book one day, I would put them all in there. It's designed to be a database of all non-canon canon, so to speak, which is of course usually in the form of interviews, hence the name. But there are exceptions.

KAFMERCHANT (@366)

There are so many small but interesting things in my WoT collection that I'd really like to share with anyone who is interested (including books of course, but also have promo literature, and marketing materials such as posters, bookmarks, WoT "postcards" etc . The risk is that I'm seen as just showing off when my intent is far from it.

An example of promo literature is from a letter dated 15 Aug 1990 included with the Great Hunt galley, from Eleanor Lang (Tor publicist) that states that The Eye of the World "...was the first volume in The Wheel of Time, a six part series to be published by Tor Books." The print run for The Great Hunt is stated as 200,000 copies in this letter.

Just to clarify that the The Shadow Rising prologue in the advance uncorrected proof was called, "Seeds of Shadow" and started approximately halfway down the page and ended on the next page with just a single paragraph on that second page. The next (first) chapter was simply called "Seeds".

While searching for something tonight I've found some items that may be of interest to you—I assume you have copies of the audio of the Budapest interviews? Do you have the 2003 Toronto audio file? Also found a word file with a list of interviews starting with Starlog in 1991, followed by letters by Carolyn Fusinato and ending with blog posts/interviews somewhere in 2006 with lots in between (the word file is 2M in size)? I may also have a couple of old floppies, somewhere, with various old interviews and other miscellaneous files from the mid-late 90s although not sure if I can find anything that can read it...or if my memory of what may actually be on them is correct.

I'll keep the offer to post additional content in mind for the future.

I also found what I was looking for—a list, in excel, of chapter revision numbers and titles from the Path of Daggers manuscript—do you want this? And if so, where should I send it (gmail account)?

Just wanted to say, great work on the book. It kept me completely occupied from around 11 am to 8 pm and I have got to say that it had the most well thought out ending ever put into a book.

Also, do you have any plans for more Mistborn books? Or is this the end?

Okay, I was expecting these. Let's get to them first.

More Mistborn Books

My plans right now are to do a second trilogy of Mistborn books set several hundred years after the events of the first series. That means that technology would have progressed, and there's a good chance I'll decide to do the books as kind of an urban fantasy. (But set in a completely different world from our own, so not quite like other urban fantasies.) Guns, skyscrapers, cars—and Allomancy.

Now, I'm not 100% decided on that. I know that adding modern technology ruins the fantasy flavor of a book for many people, so I'll have to think about it. But I think the imagery would be compelling, and I would love to deal with a 'modern' world where the events of this trilogy form the foundation for the religions, history, and society of the book. It would be a really challenge, since I'd have to decide how technology and society developed following this book.

The relationship between artist and critic/fan is a curious one in this regard. On one hand, I do think feedback is important, particularly on a project like this (where, as I've stated, I feel that the project rightly belongs more to the fans than it does to me.) However, a writer must keep their artistic integrity. Allowing yourself to get pulled in too many directions by fan requests can be a disaster for an artist. Basically, you can't try to please everyone—if you do, you risk ending up with either a completely schizophrenic project, or one that is so bland it lacks emotional depth or power.

So, like I said, fine line. I looked at fan responses on The Gathering Storm very cautiously and carefully, trying to keep in the same mindset that I use when getting feedback from my critique group. Basically, that mindset is this: "I will do what I feel is best for the story, regardless of what other people think. Even if I'm the only one who feels that way. But if someone raises a complaint that either strikes a cord within me, or which gains a lot of support from others, I WILL look into it and try to approach it objectively."

That's a mouthful. Basically, what it means is keeping an open mind for ideas that will make the story a better version of what I want it to be. On The Gathering Storm, there were two basic areas I felt fans were right about that I could and should fix. The first had to do with some voice issues in Mat's narrative. (I've spoken of that elsewhere.) The second had to do with continuity errors. I am not nearly as good at dealing with those as Robert Jordan was—I know he made mistakes, but I felt I made more. So for this project, I enlisted the help of some very detail-oriented members of the fan community as beta readers in an attempt to keep myself honest and catch mistakes before they went to press.

There are things in this book, like in any book I've written, that I fully suspect will draw complaints. In some cases, I know exactly what they are—and I did them that way because I felt it was best for the story and the best way to remain true to Robert Jordan's vision. It's the ones that I DON'T expect, but which ring true, that I want to find and correct.

I like it when my characters live on in people's minds. I have no plans right now to write any more books about Spook or Breeze, though what they do in the next period of time will create the history for the next series. However, there's a chance I'll change my mind on this. However, this ending was not set up for another book specifically. I just wanted to tell the best ending I could, and this is how it turned out.

PETER AHLSTROM

(cross-post)

Brandon does want to write more Mistborn books, but not with the same characters. There would be two more trilogies. The second trilogy would be set a few hundred years later, in a modern day–type setting, when the events of the first trilogy have passed into legend. The third trilogy would be set a few more hundred years later, in a future, outer space–type setting.

It's such an audacious idea I wish he would write it right now because I want to read it, especially the third trilogy. But Brandon has announced his next project (pending Tor approval) will be Way of Kings, a 10-volume epic fantasy. He'll sprinkle in a book from another project here and there, so the next Mistborn trilogy might start before Way of Kings is ended, but it will be years yet before there is any more Mistborn.

KAIMIPONO

But Ookla, he already wrote that one!

PETER AHLSTROM

I know. :)

The real story is that Brandon was writing (or revising?) Way of Kings when Tor offered to buy Elantris. Brandon signed a two-book contract for Elantris and Way of Kings. Then Brandon realized he wasn't in the point in his career yet where he could write Way of Kings the way he wanted to, so while he was supposed to be revising Way of Kings he secretly wrote the first Mistborn book instead, which he then sold to Tor as a trilogy, replacing Way of Kings in the original contract.

But for some reason Amazon already had a listing for Way of Kings, with a release date. Thence the fake reviews.

I've read an early draft of the first book, and it aims to be very epic. (No, Elvis is not involved.) I do wonder, though, whether when it actually comes out, the fake reviews will get attached to its Amazon listing. :)

BRANDON SANDERSON

This is all true. Note that the book would not be named The Way of Kings. Most likely, I'm going to make that the series name. So I guess the book "The Way of Kings" must be some kind of parallel novel or prequel or something... ;)

PETER AHLSTROM

Oathshards is out, eh?

You're such a tease, Brandon. All these details about the next series will make everyone hungry for it, and then we'll all have to wait.

Of course, any other book you put out in the meantime will still be awesome, so we should be content, right?

BRANDON SANDERSON

I don't think Oathshards is as strong a name as "The Way of Kings." Plus, that's really what the series is about.

Actually, no. This one was finished off back before I knew anything of A Memory of Light or before I'd read Name of the Wind. Hopefully, the smoothing is a result of me trying to work out kinks in my storytelling ability. I'm learning to distance out my climax chapters, for instance. (I think I've I'd have written this book years ago, I'd have tried to overlay Spook's climactic sequence with the ending ones, for instance, which would have been a mistake.)

Also, of the three books, I worked the hardest on this one. Choosing that ending—even though I'd planned it for some time—was very difficult. I knew that it would anger some readers. I also knew that it was the right ending for the series.

I'm glad it worked for you.

FLINN

I have to admit, I am one of those angered. I will be so glad when this cliché of killing off the heroes will finally pass. I escape to fantasy for the happy ending. If I wanted to be depressed I'd grab a 3-dollar bottle of Mad Dog 20/20 and drink it all and contemplate my mundane life. I can't spend much time reflecting on the book because of the mental picture of Vin and Elend dead in a field keeps popping up instead. They didn't even get a chance to reproduce.

Now outside of the horrible ending (which wasn't surprising in the least because it is so common to kill the heroes) I enjoyed them. I absolutely cannot wait to read your books written 10 years from now. You can definitely pick up the improvement in transitions and character development in each book I've read from you. I'm quite often reminded of David Eddings although I'm sure plenty would disagree. And while Eddings isn't one of my favorite writers to be at his level (to me) so early in your career leads me to believe great things will be coming.

I would like to ask you one thing to consider when writing endings. Fantasy is an escape, please don't ruin it with such depressing endings. When you have had the opportunity to look upon your dead wife in her coffin, reading about others dying isn't fun at all. It is absolutely terrible. Happily ever after.

BRANDON SANDERSON (17 OCTOBER)

I understand your anger. I wrote the ending that felt most appropriate to me for this book and series. I didn't find it depressing at all, personally. But people have reacted this way about every ending I've written.

I won't always do it, I promise. But I have to trust my instincts and write the stories the way they feel right to me. I didn't 'kill off' Vin and Elend in my mind. I simply let them take risks and make the sacrifices they needed to. It wasn't done to avoid cliché or to be part of a cliché, or to be shocking or surprising, or to be interesting or poetic—it was done because that was the story as I saw it.

I will keep this in mind, though. I know it's not what a lot of people want to read. Know that I didn't do it to try to shock you or prove anything. And because of that, if a more traditionally happy ending is something that a story requires, I'll do that—even if it means the people on the other side of the fence from you will point fingers at me for being clichéd in that regard as well.

If it helps, realize that one of the reasons I added the lines in Sazed's note was to let the characters live on for those who wanted them to live on. I ALMOST didn't have Spook even discover the bodies, leaving it more ambiguous.

Thank you for coming on. Please tell us about yourself.

So I have a couple of questions....

I loved the book, it was all great UNTIL Vin and especially ELEND died. I can see why you did it, but I was crying so hard when Vin confirmed Elend was dead. I actually had an urge to burn the books right then and there and pretend it had never happened. Either way, I continued reading and then found some sliver of hope when Sazed said he hadn't figured out how to restore the souls YET, he said he would get better at it.

1)Does that mean that he might someday, maybe, hopefully (pretty please) bring them back to life? I suspect that you might not answer, but can I at least hope? Cause if anyone deserved to live a full NORMAL life it was Vin and Elend. Besides, it would ROCK if Elend and Kelsier ever got to meet each other......

Aw man.....I'm still crying over Elend....Is it wrong I get so attatched to characters? Its just that Elend and Vin got so little time together. It's so sad. Which reminds me: You mentioned, when someone asked about Sazed meeting Twindyl again, that he hadn't because he hadn't reached that space where souls were and the ones that were trapped in the in between were the ones that had a connection with either the physical or the concious world. Those weren't the exact words but it was something like that that IMPLIED that Vin, Elend and Kelsier were somehow still connected with the earth because unlike Twindyl the hadn't progressed past that in between place.

2) Am I right and maybe going somewhere, or am I talking total nonsense and simply trying to cope with the loss of Elend?

One of the reasons for that line at the end is to give you, the reader, the power and authority to bring to the characters the ending you wish. I may do more in this series, but until then, please take the future of the characters wherever you want in your own mind. (Also, you mention that they had such little time together—which is true, but also remember that there was a year between books one and two, then another year between books two and three. They spent most of this time together.)

The door is open for a return of Elend and Vin. Will I write it? It isn't likely to be soon, if I ever even do. Does that mean it won't happen? No. Not at all. If I write more Mistborn books, they will be hundreds of years in the future. During that time, Sazed could have learned to get souls into bodies, given Vin and Elend a life together somewhere away from the others, where they wouldn't have to struggle quite so much like they did through their lives, then ushered their souls on to the beyond. Or they could hang around with him, working with him as he takes his next steps to shepherd humankind on Scadrial. Or neither of the above. Imagine it how you wish, for I'm not going to set this one in stone for quite some time, if ever.

I'd first like to say that this series was fantastic. I was exceptionally pleased with how you tied everything together in this final book of the trilogy.

(1) This series has the best world-building, magic system, and over-arching plot of any epic fantasy I have ever read. I think George R.R. Martin is still the master of creating memorable characters, developing them, and having them interact with each other. Other authors, like Hobb and Rothfuss, are better at evincing emotion. You are an amazing writer yourself.

That being said, I have a couple suggestions for you.

(2) The first contradicts itself, so take it for what it is. I would suggest that you write how you feel the story should be written. Getting inspiration from someone is one thing, but changing your work because some people want a happy ending or dark ending takes away from the purity of writing. The part you added in at the end where Sazed let Spook know Vin and Elend were happy in the afterlife really stuck me like a thorn. I think it was apparent how happy they were together in life and how necessary their sacrifices were. That would have been enough for me.

(3) My other suggestion is more of a plea really. Please don't extend this series just to capitalize on it. If you really feel there is more story to be told, then tell it. I, for one, thought the ending would have been perfect if allomancy, hemalurgy, and feruchemy would have faded from existence as their corresponding gods did. It would have been rather romantic to have people start over with a new "normal" world.

Congratulations again on completing a masterful work!

1. You humble me. I don't think I've NEARLY the skill for characters that Mr. Martin does, and that's not just an attempt at modesty. I hope to be there some day, however.

2. This is a tricky one. I didn't change the worldbuilding or the cosmology of the story in order to fit what people wanted, but I feel strongly about using writing groups and test readers to see if my intention in a book has been achieved. I show things to alpha readers to see what is confusing or bothersome to them, then decide if that's really something I want to be confusing or bothersome.

In my mind, the presence of a powerful being such as Sazed, mixed with some direct reaching from beyond the grave by a certain crew leader, indicated that there WAS an afterlife. However, test readers didn't get it, so I tweaked the story to make it more obvious. Perhaps I should have left it as is, but I liked both ways, and decided upon the one I liked the most in the context of reader responses.

I do plan to always tell the stories from my heart, and not change them because of how I think the reactions will be. But I do think it's important to know what those reactions are ahead of time and decide if they are what I want or not.

3. We are on the same page on this one. You can read other posts on the thread to see what kind of thoughts I might have for more Mistborn books, but I don't know if/when I will write them. It depends on the story and how excited I am to tell it.

......wooooooooooooooah......

I still can't stop thinking that in my head. It's all that's really coming to mind at the moment.

I made the stupid mistake of finishing the book this afternoon in a public place. Therefore I looked like a complete moron as I burst into tears when Elend died. I think it was a good ending. I'm still not totally decided on that. I'm just in shock.

It's just so amazing how the books progressed, developing into this huge cosmic epic that I never expected from just reading The Final Empire a year ago. I guess in some sense what I'm feeling is a slight sense of... awe, maybe? I want to know how he comes up with stuff. I mean seriously, talk about not just writing another fantasy series.

But I'm also shocked that no one else seemed to have figured out that Sazed was the Hero of Ages. I thought it might be him when I started the book, but it could as easily have been Vin or Elend. But at about a third of the way through, page 215 to be exact, there was this line from Sazed thinking in his head:

"I am, unforunately, in charge."

Sound familiar?

"I am, unfortunately, the Hero of Ages."

No one else would have used the same wording as Sazed did when he was thinking to himself. I have to assume that was intentional on Brandon's part. It was very subtle... I'm actually surprised I noticed.

I'm gratified that you noticed. The Terris dialect IS very subtle. That speech pattern is one hint, the other is the use of "I think" to soften phrases at the ending. Beyond that, Sazed speaks with compound, complex sentences using frequent hedging to indicate that he's often uncertain. (That's another Terris speech pattern, not wanting to offend with language.)

The epigraphs in this book particularly (though I did it for Kwaan too) are intended to "sound" Terris, and like Sazed in particular. I didn't think anyone would catch it. You made my day!

I come from South Carolina, USA, and our memories of the 130 kilometer strip of destruction left by the Yankees—General Sherman—are as fresh as if it occurred yesterday, not one hundred thirty-five years ago. Yet throughout history both war itself has changed, and its perception by the participants and the civilian population. Let's start with the fact that most of the past wars were strictly localized.

Yes, people knew what war is like. They knew that if war came through their area, then it would destroy their homes, farms, villages and towns. They knew that war brings with it the robbers and marauders. And that death is not waiting for as many soldiers as it is civilians. But five kilometers from the battlefield people hardly felt by its effects. As a result of the battle the trade routes might have changed; another king might take control of the throne; the army could bring with it disease, but in essence, five kilometers was a sufficient distance for a relatively safe existence. The outcome of the battle between York and Lancaster had no significant effect on the lives of individual men or women if they were not directly involved in the conflict and did not lie directly in the path of the army.

This was the main feature of the perception of war, from the Greeks and Romans and ending in the XVII-XVIII centuries.

Today I'm absolutely ecstatic to post my interview with bestselling author Brandon Sanderson:

I first met and spoke to Sanderson in September 2010, when he came to Raleigh's Quail Ridge Books for a reading and signing event for The Way of Kings: Book One of The Stormlight Archive, and one of the topics we got onto happened to be audiobooks. Fast forward to the fall of 2011 and the release of The Alloy of Law: A Mistborn Novel (which I reviewed here on the Audible SF/F blog) and it felt like it was time to dig a little deeper on the subject of audiobooks, narrator Michael Kramer, and (maybe) see about poking around on the ending to the Wheel of Time, due out in January 2013.

Why are they choosing Callandor over the Choedan Kal?

LUCKERS

Well, not even that, really, because two of those have nothing to do with the Callandor. I guess it’s more, was there something dodgy... did they know something about the Choedan Kal... why did they leave it?

BRANDON SANDERSON

There is a reason. It has to do with Callandor being key to the ending, and the Choedan Kal not.

I'm sorry. I often miss tweets. I haven't seen any of your others. I would be happy to release the notes if Harriet allows it.

BISHOP MEKAY

Thank you. It would bring joy to my heart to feel his words on the ending of the greatest story told. No disrespect intended.

BRANDON SANDERSON

I understand. I plan to push Harriet on this more once the last book is out.

How did Vin and Elend change during the course of the story?

This story, the series is about them, it’s about progression. I talk about the plot for books, for instance, the Mistborn series is about a group of thieves taking out a Dark Lord, but books, for me, are about character. Action is only as interesting as it happens to people you care about, in my opinion, and a setting is only as fascinating as characters’ ability to interact with it. The progression, who characters become, is really where I think fiction can shine. In a different medium, you just don’t have the time to do what we do, and we can show across a span of years how someone starts as a street urchin and ends up as a queen. You can show this and you can show the internal changes, and the struggles inside of them that leads to this.

The story, about, for Vin and Elend is the story of them coming to accept each other’s different worlds. Vin starts as a street urchin, and she understands that life. Elend starts off as a nobleman, and he understands that life. As they start to interact and begin to have romantic interest in one another, their two worlds sort of collide and start sucking each other into each other’s worlds. Vin’s progress is learning that there is a part of her that can survive in this world of nobility, and of balls, and of political intrigue. But Elend, just as much, needs to understand that there’s a need to be able to survive “on the street,” a need to be able to take care of yourself rather than being pampered. It’s a role-reversal for the two of them, how it works as the series progresses.

Hero of Ages is the third and final book of the Mistborn Trilogy. One of the things I love about this book is that it is the ending. I like to end things. I don’t want to leave people hanging. I like my stories to come to a conclusion. I promised people at the beginning, when I was writing this series, that it would be three books: and I would give them a dramatic, powerful ending. Endings are my favorite part, honestly, of novels. In a given novel, I love telling you the ending, and Book 3 is kind of a book that is an ending itself. The entire book is an ending. It’s a big climax: it’s exciting, and it’s powerful, and it fulfills things that have been building in the series for three books now. I was able to write the trilogy straight through when I was preparing, and so I had Book 3 drafted before Book 1 even went to press, which allowed me to really make these three novels cohesive. I have seeds in the very first few paragraphs of Book 1 to things that become climactic powerful moments in the end of book 3. Book 3 is just an overload of action and excitement and character climaxes and just an amazing, just, romp through this series. I’m really excited about people being able to finally read it because I’ve been waiting for quite a while to make good on the promises I made at the beginning.

The great thing about Book 3 is that I'm introducing a completely new magic system. Each book has had its own. We'll start talking about Hemalurgy, and Steel Inquisitors, and where they come from. A lot of the origins of things that people have been wondering about since Book 1. The last 200 pages are just some of my favorite writing that I’ve ever been able to write because I was able to bring things to a head and to a close. I hope you enjoy it.

Moshe and I agreed on just about every edit or change made to ELANTRIS. There is one small thing, however, that we kind of went the rounds about. The word Kolo.

Galladon's 'Kolo's are, in my mind, an integral part of his personality. I characterize him a great deal through his dialogue—he doesn't really get viewpoints of his own, so everything I do for him at least until the ending

I either have to do through Raoden's thoughts or through Galladon's own words. When I was coming up with Galladon's character, I realized I would need a set of linguistic features that would reinforce his culture's relaxed nature. So, I went with smooth-sounds, and gave their dialect a very 'chatty' feel. The Dula habit of calling everyone 'friend' came from this—as did their habit of softening everything they say with a question tag. Linguistically, questions are less antagonistic than statements, and I figured a culture like the Dula one would be all about not antagonizing people.

A number of languages in our own world make frequent use of similar tags. Korean, the foreign language I'm most familiar with, has a language construction like this. Closer to home, people often make fun of the Canadian propensity for adding a similar tag to their own statements. I hear that Spanish often uses these tags. In many of these languages, a large percentage of statements made will actually end in a softening interrogative tag.

Anyway, enough linguistics. I'm probably using the standard 'literary' posture of falling back on facts and explanations to make myself sound more authoritative. Either way, I liked having Galladon say 'Kolo' a lot. In the original draft, the tags were added onto the ends of sentences, much like we might ask 'eh?' or 'understand?' in English. "It's hot today, kolo?"

Moshe, however, found the excessive use of Kolo confusing—especially in connection with Sule. He thought that people might get the two words confused, since they're used similarly in the sentences. Simply put, he found the kolos distracting, and started to cut them right and left. I, in turn, fought to keep in as many as I could. It actually grew rather amusing—in each successive draft, he'd try to cut more and more, and I'd try to keep ahold of as many as possible. (I was half tempted to throw a 'kolo' into the draft of MISTBORN, just to amuse him.)

Regardless, we ended up moving kolo to its own sentence to try and make it more understandable. "It's hot today. Kolo?" We also ended up cutting between a third and a half of the uses of the word, and losing each one was a great pain for me. (Well, not really. But I'm paid to be melodramatic.) So, if you feel like it, you can add them back in your mind as your read Galladon's lines.

Other than that massive tangent, I don't know that I have much to say about this chapter. I thought that it was necessary to set Raoden up with a firm set of goals to accomplish—hence the three distinct gangs he has to overcome. Since Sarene and Hrathen's storylines were going to be a little more ambiguous plot-wise, I wanted a conflict for Raoden that could show distinct and consistent progress.

I knew from the beginning that I wanted him to set up a new society for Elantris, and the gangs represented a way for him to approach this goal in an incremental manner.

The cliffhanger at the end of this chapter, by the way, is one of my favorites. The chapter-triad system gave me some amazing opportunities for cliffhangers—as we'll see later.

The scene where the children talk about art is one I nearly cut from the book on a couple of different occasions. I worry that this is one of the scenes that contributes overly-much to the 'Kiin's family is out of place' feeling that people occasionally get. In addition, I worry that I made Kaise TOO intelligent here. Three things make me retain the scene. First, I think it's kind of amusing. The second is a spoiler, so I won't say much on it—just let it suffice that I wanted to give Kaise and Daorn some good characterization. -

For you spolier readers, those two would be the main characters of any sequel I wrote to ELANTRIS. I'd set the book about ten years after the ending of this one.

The third reason for retaining the scene is because I put it in, in the first place, quite intentionally. Kaise, and to a lesser extent Daorn, are a small reaction against ENDER'S GAME. When I read that book, and some of Scott's other works (which, by the way, I think are all brilliant) I got to wondering if children who were as smart as his really would act the way they do in his books. Not to disagree with one of the greatest sf minds of our time, but I wanted to take a different spin on the 'clever child' idea. So, I presented these children as being extremely intelligent, but also extremely immature with that intelligence. I'm not convinced that IQ brings maturity with it, and think there's only so much 'adult' you can have in a kid. So, I put in Kaise and Daorn to let me play with this idea a little bit in ELANTRIS.

I mention the Outer Cities here with the beggars. Actually, the main reason I put them in was to give myself another excuse to mention the Outer Cities. Throughout the books progress, I've been worried that people wouldn't understand the ending climax. In order to get what is going on with Aon Rao, they need to understand the geography of the cities around Elantris. Hopefully, I describe it well enough that it comes off.

I suppose the most important scene in this chapter was the exchange between Sarene and Daora. It's hard, in writing, to avoid being heavy-handed with exposition and emotion. Show don't tell, as the proverb goes. Sometimes you get it right—like this particular scene. Sarene, obviously, is falling for Spirit—and Daora mistakes the emotion as being applied to Shuden. (Yes, I know, I shouldn't have to explain this. However, that's part of what these annotations are for—to explain things. I never can tell what people will get and what they'll miss. I've thrown in twists I thought were obvious, only to have everyone miss them—but instead they pick up on the foreshadowing that I never meant to be strong enough to give the ending away. )

Anyway, one of my challenges in this book was to make the romance between Sarene and Raoden realistic, considering the relatively small amount of time they had to spend together. I hoped to avoid any silly 'love at first sight' type plottings, while at the same time making their relationship feel genuine and touching in as short a time as possible.

As for the first section break, I just really like ending with having Hrathen poison himself. This makes our first section incredibly long—it takes up well over half of the book. I thought that was all right, however, since I figured increasingly short sections would enhance the pacing near the end of the book, speeding things up (hopefully.)

And, as for the ending lines—yes, I did it again. The same little cliffhanger-extension from before. I figured that it was fitting, since this structure threw Hrathen into the city. Why not use the triad system to do the same thing with his getting healed?

And, as for the ending. . . . Well, poor Sarene. I'm sure she'll bounce, though.

This ending scene is where Hrathen and Raoden come the closest to speaking to one another. Hrathen stands there, looking down on Raoden. Then he leaves. In case you were wondering, no. They never say a word to one another throughout the entire book. Sarene mixes with both of them, but Hrathen and Raoden barely interact.

Things certainly are moving along now. I told you the book would speed up as it approached the ending.

There were some very good moments in this part. I like how removing the Mad Prince from the book streamlined the pacing, and I think it pushes quite well to the final section. A lot is happening now, so I hope that it's hard for you to get to these annotations—I want you to keep reading the book! You can always re-read it a second time, and look through the annotations then.

FORM

From here on out, the chapters get longer. It's interesting to try and work with pacing. I think the shifting viewpoints achieve the sense of drama I want, and coupling that with lots of new chapters would be repetitive, I think. So, I waited for the most dramatic moments possible to end chapters. I think this ending counts.

The triad system breaks down completely here. Everything is falling apart, and we're getting wild viewpoints from all over the place. (Well, not exactly—we only add Galladon and Lukel. However, I think that after fifty-nine chapters with only three viewpoints, suddenly adding two more will be disorienting enough to have the effect I want.)

Part of the reason I add the viewpoints is so that I can show the breakdown of the form of the book. However, another—perhaps more important—reason is so that I can show what is happening in places that don't involve one of the three viewpoints. Raoden is off in his own little world of pain, and Sarene and Hrathen have gone to Teod. If I want to show what's happening in Arelon, I need some new viewpoints.

ADIEN'S SECRET

I almost cut this entire twist from the book. I've never been happy with how it worked out, and I think there are—as I've mentioned—still a few too many surprises and twists at the end of the book. (Though, I have fixed it somewhat. It used to be that virtually EVERYONE had a secret past or personality trait that came out in these last four chapters.) Anyway, I don't like the Adien twist—it lacks power since we don't really care about him, and his character—the autistic—isn't terribly original anyway.

I've left the Adien twist in for a single reason. However, it's a bit of a spoiler, so I'll put it invisible for those of you who haven't read the ending yet. You can come back and read this later.

Anyway, Adien is my planned hero for book two. I like the concept of a healed autistic being the hero of the next book. And, since he's so good with numbers, he would be incredibly powerful at AonDor. I think he'd be a compelling character to look at, so I left him in this book in case I wanted to use him in the next one.

Adien has been an Elantrian for some time. That's why Kiin's family knows so much about Elantrians. Read back to the earlier chapters, and you'll see a scene or two where Sarene wonders why they know so much about Elantris and its occupants. They hid Adien's transformation with makeup, and his autism kept him out of social circles anyway, so no one really paid much attention to the fact that he was never around.

RAODEN VIEWPOINTS

It was essential to this chapter that I establish that Raoden can catch glimpses of what's happening around him. I went to a lot of work to get him into place above the city where he could make the connection, looking down on Elantris and the outer cities. The pool, actually, simply grew out of my need to find a way to put Raoden on the slopes of the mountains near the ending of the book. I like how it turned out in the final story—it added a dimension of mysticism to the Elantrian belief system, and it worked very well into the plotting I had developed. My only worry about it is that it was too far away from the Elantris, but we'll talk about that later.

RAODEN'S TRANSPORTATION

I had to work very hard to make this one work. I think it turned out, but it is a little bit of a stretch. Hopefully, readers will go with me on this one because of the climactic feeling of the near-ending.

Regardless, I do think I gave Raoden all the pieces he needed here. Adien always existed in the book for this one moment—to give Raoden the length measurement he needed to go try to save Sarene. I've established that Seons have perfect senses of direction, and I've talked about how to use Aon Tia. More importantly, I think I've established that this is something that Raoden would do. He gets just a shade foolhardy when Sarene is concerned. (It's all her fault.)

There is another important element to this teleportation. I thought it important to involve deity in the climax of what has been such an overtly religious book. You may not believe in God, and it is never my intention to belittle your choices. However, the format of this book has been one that dealt with religion and the way that people interact with their faith. And so, I took this last moment of the book, and gave Raoden an opportunity to call upon the aid of providence.

Raoden arrives safely, despite the odds against his having gotten the distance, direction, and other factors right. You are free to simply think of this as luck, if you wish.

HRATHEN

So, Hrathen wasn't really dead. (Ironically, while many of you are probably saying 'yeah, yeah. That was obvious,' I actually didn't have him appear here in the first eight drafts of the book. I'll explain later.)

I think this is my favorite scene of this chapter. Not only is it written a little better than the rest of the book (I added it quite late—just this last summer) but it gives final closure to the Hrathen-Dilaf relationship. It uses Hrathen's time in Dakhor as an ironic twist against Dilaf. In short, it is a pretty good scene. Fulfills character, plot, and theme at the same time—while giving us a nice image to boot. (Though I do hate to do the "Hey look, a guy we thought was dead is really alive" twist.)

The story behind this scene is pretty recent. One of the original rewrites Moshe asked for was a fix of the ending, which he thought was too Deus Ex Machina. (Which, indeed, it was.) I don't think I'll go into the entire original version here—it was quite different. You can read the alternate ending in the deleted scenes section, when I throw it up next month. The short of it, however, is that Ien (Raoden's Seon) showed up to save Raoden and Sarene from Dilaf. I used a mechanic of the magic system that I have since pretty much cut from the novel (since it was only in the book to facilitate this scene) that allowed Ien to complete his Aon, 'healing' Dilaf. Except, since Ien's Aon was broken, it turned Dilaf into an Elantrian instead. (A non-glowing Elantrian. One like Raoden the group used to be—like Dilaf's own wife became after she was improperly healed in Elantris.)

I know that's probably confusing to you. The scene, over all, was just kind of weak. It relied on a barely-explained mechanic mixed with a tangential character showing up at just the right moment. When Moshe asked for the change, I immediately saw that I needed to bring Hrathen back to life for a few more moments. Letting him die on the street just wasn't dignified enough (though originally I wanted him to die this way because it felt more realistic.) I wanted a final confrontation between Hrathen and Dilaf, since it would give most people's favorite character a heroic send-off, and would also let me tie in the aforementioned Dakhor irony.

In the end, I was very pleased with the rewrite. It's good to have an editor.

4) The ending of the book was devised to stand out from the rest of the work. The chapter triad system broke down, the tone changed from 'political intrigue' to 'outright warfare' and the viewpoints began to speed up, moving in quick rotation. Did you like the rushed feeling of the ending, or did you find it too overwhelming? Why? Which of the twists were your favorite? Which ones did you see coming, and which ones surprised you?

Wow I am amazed that you actively Reddit, how in the name of the dark one didn't I know this? If you have the time I just have one question! Is WoT really going to end this next book? there seem to be SO many loose end that, if the series is tried too be ended in one book, will be rushed or left unacknowledged/uncompleted! Anyway thanks for yor amazing work I loved the latest books!

Well, I guess "active" is a relative phrase, as I only now saw this.

Yes, this is the ending. No, not every loose thread will be tied up. Robert Jordan left instructions for some to be left open.

It doesn't feel rushed to me, but we'll have to see what the fans think.

What do you wish you’d done differently?

There’s not something I wish I had done differently, but I think the greatest weakness of the book is that for the ending to really work, you have to know some things about the original trilogy. For the rest of the book, you don’t need to know anything about the trilogy. So I wonder if that was the right move or not.

How does it feel to finish a series of which you are such a fan?

Bittersweet. Definitely bittersweet. I followed this for so many years that it’s been a big part of my life for many, many years, so ending it is really, really weird. I can remember picking up that first Wheel of Time book when it came out in 1990: this is after I’d spent a summer discovering fantasy novels. The first paperback of the Wheel of Time was that Fall I believe, and it’s been with me ever since.

It’s really the only series I’ve followed all the way along, so it’s really weird. On the one hand I’m like stepfather to millions of people. On the other hand it’s just me the fan trying to make sure that this thing is as wonderful as I want it to be as a fan. All those things together are a huge amount of pressure.

That leads beautifully into the next reader question: are you worried that fans will want to throw you into Shayol Ghul for the Dark One to feast upon?

[laughter] Yes and no. The ending of the actual book Robert Jordan wrote himself, so I can at least depend on that, being, you know—

Nalini Haynes

True to the original.

Brandon Sanderson

True to the original. Years ago now, when I first read the end, I felt very satisfied by it as a fan. I think that ending is good. My job is to get us there without screwing up in between. Hopefully they won’t want to throw me in. I mean, this is the last battle and there are some casualties...Even so I’m hoping that doesn’t cause them to want to throw me into the pit. I do the best I can, and hope.

What was your reaction to reading Jordan's notes for the series' conclusion?

Casey Phillips

Brandon Sanderson

For five years, whatever I've been doing—whether it be going out to dinner, sitting down to write, or checking my email—I've known that there was more to do on the Wheel of Time. I've known that I gave my word to Harriet and to the fans that I would work hard to get those books out quickly, and I carried a weight of responsibility for the book being split and people being forced to wait years beyond when they expected to get the ending. For five years, I have worked long hours because of those reasons. All the time I could find, I dedicated to the Wheel of Time in one way or another.

And then, today, I did not have a Wheel of Time book to work on.

I've reached the end of the journey and set down my burdens. It's wonderful, relaxing, and solemn all at once. I love the Wheel of Time. It's also great to be done.

And so, today, I officially take a step toward a line. I step away from being pilot of this series, and toward once again being just a fan. I will never cross back over that line—whatever else happens, I will have written three books in this series. I will continue to support and engage with Wheel of Time fandom. However, an ending has arrived for me, and it is time for my attention to be turned elsewhere.

Robert Jordan was a great man, and was the single greatest influence on my development as a writer. What I have done these last five years has been an attempt—a sometimes flawed but always earnest attempt—to show my appreciation. This entire genre owes him an enormous debt. My debt to him, and to Harriet, is greatest of all.

Mr. Jordan, may you rest in the Light. Everyone else, take a breath and get ready for the end. May you find his final words as satisfying to read as I did when I first picked them up five years ago. The very last scene is his, touched very little by me, as are significant chunks of the ending at large. I have achieved my goal in writing the books so that they pointed toward this ending he wrote, allowing us to include his words with as little alteration as possible.

Once again, thank you. May you always find water and shade.

Brandon Sanderson
Written July 30th, 2012
Posted August 1st, 2012

So, let’s let Brandon be quiet for a minute and let’s ask Joe and Jeff, what kinds of things are you looking forward to seeing in A Memory of Light? And we’ll just kind of watch what Brandon does. (laughter)

Jeffrey Daniel

I think one of the biggest things that I’m looking forward to is just having closure on everything. I’ve been reading this book series since I was about twelve years old. It was actually the first book I ever really picked up, was The Eye of the World; before that I read comic books, and I was in a bookstore one day, and I happened to pick it up and of course, Darrell Sweet’s artwork was what really grabbed my attention, and I was standing there and my mom was looking at me, and she said “I bet you can’t read that.” And so I was like, “Oh yeah? Oh, it’s on!” So I read it, and then right when I finished it, I handed it right to her and I said, “I bet you can’t read this.” And so, she’s read the entire series along with me, and it’s been a part of my life since I was twelve, so to have it come to a close is kind of sad in some aspects, and sometimes you don’t want it to end.

Jennifer Liang

We were talking about this the other day. Brandon read a little excerpt from the first chapter at ComicCon last weekend, and I haven’t been able to go to tor.com and read that little excerpt, because I’m not ready to start the last book yet. Usually I’m all over preview material, I’m like “Yes! Fresh Wheel of Time!” But I can’t get started yet; I’m not ready.

Jeffrey Daniel

I think it's just, I'm looking forward to having closure, but at the same time, I'm not. So I think that overall that's what I'm looking forward to the most.

Joe O'Hara

Well, to comment on what you're saying, I kind of feel the same way, but in a way it doesn't even seem real that it's ending yet, 'cause it just hasn't set in, sort of. So, I don't really know how I feel about it, then, but...more specifically, in the text, I guess I'm really excited to see...a lot of reunions are coming, you know, like maybe Moiraine. I don't know...who knows who she's going to be interacting with throughout the book, so it's gonna be really cool to see a lot of characters that have been separated for so many of the books of the series coming back together for the Last Battle.

Yeah, I kill her in the prologue, sorry. [She] doesn't meet anybody. (laughter)

Joe O'Hara

So, I really like Moiraine. (laughter) But that's going to be cool, I think.

[something about the prequels and fanfiction]

Jennifer Liang

Fan fiction has never really taken off in the Wheel of Time fandom. Partly the reason for that is because Robert Jordan did not like fanfic—he didn't like other people playing in his sandbox—and so when me and Jason became aware that he didn't like fanfic, we pretty much killed it on Dragonmount, and because we killed it on Dragonmount, that meant everybody else killed it too, because people pretty much follow our lead, so there's never really been a lot of fanfic in the Wheel of Time. There is some out there—if you look around you can find some like on fanfic.net—but it's never really taken off for whatever reason. And I think it's partly because we killed it very quickly, but I think it's also partly because a lot of what is special about the Wheel of Time is the unique voice of Robert Jordan, and for the most part other people writing in that universe, it's crap. Even if they're a really good writer, it's...[Brandon] is really the only person I like writing in the Wheel of Time universe other than Jim, so...I think that's another reason why it doesn't take off, because it's pretty obvious it's not Robert Jordan.

Right, the Wheel of Time is about Robert Jordan's voice in a lot of ways, and the reason we're all still reading this is because we like that voice. And there are books that are slower than other books, and those of us who just love his voice, love those books.

Jennifer Liang

It doesn't matter, I really like Crossroads of Twilight. I'm sorry!

Brandon Sanderson

Yes, because that's what we're reading the books for. I mean, of course it's the characters also, but time with Jim and the characters is what these books are about, and as much as we like the epic battles and things, at their core it's Jim and the characters.

Jennifer Liang

Yeah, and it's his prose, and it's his writing style, and just the way he presents everything. And so, fanfic can't capture that.

Joe O'Hara

I think there's a real loyalty to him as an author as well when you find out, as a fan, that he doesn't like that kind of fanfiction, then you don't even feel inclined to do it.

Brandon Sanderson

He was very—I mean, if you guys read the interviews—it was only like the last minutes that he changed his mind on even having the series finished by someone else. For years, he was gonna...what was it, burn his hard drives, and things like that...

Jennifer Liang

...and salt the earth, yeah...

Brandon Sanderson

Yeah. There was going to be no ending. It was only like the last month or two that he said, "No, go ahead and find somebody and have it finished." So, yeah.

Joe O'Hara

We're all really glad that he said that.

Brandon Sanderson

Yeah, you almost didn't have this.

Audience

[something about hunting the guy down and taking his kneecaps]

Brandon Sanderson

Yeah.

Jennifer Liang

So, watch out for those kneecaps.

Brandon Sanderson

Okay. If my kneecaps float off mysteriously...

Joe O'Hara

That is mysterious.

Brandon Sanderson

...and you see a shadow with the hat and a cane, and maybe a pipe... (laughter)

Yes. Right. I could barely say the names right back then, and half the time I didn't say them right...

Jennifer Liang

You were so cute. (laughter)

Brandon Sanderson

Yeah. I was very, very scared of the Wheel of Time fandom...

Jennifer Liang

We were very scared of you; we didn't know what was gonna happen.

Question

...so, the interesting thing is at the time, I think you said the first thing you did was you wanted to find out who killed Asmodean, and that got the whole room laughing at the time, and you talked about how you briefed yourself on all the material that was left, and [?] and everything, and you said Jim wanted one final novel, but you didn't see any way. You made an estimate of the number of words, hundreds of thousands of words...

Brandon Sanderson

Yeah. 800,000 was my initial estimate.

Question

And what did it end up being? I'm just curious.

Brandon Sanderson

It ended up being around, let's see...around nine, maybe ten...so, a hundred—or a million words, right around.

Question

It grew!

Brandon Sanderson

It grew a bit, yeah. And part of that is the fact of cutting it gave me a little more space to do that, and part of it was, you know, little touches here and there. You never can guess really exactly. It didn't grow by enormous amounts—it grew by maybe ten or twenty percent, which is within a reasonable threshold when I guesstimate a book length—but yeah, it did grow a bit, and after the books are all out, I'll tell you some of the things that grew, some of the things that got added. There were things that weren't in the initial outline that I decided needed to be in the books as I was writing them, and that happens with every book that you're going to be doing.

The process for writing this book, for those who haven't heard: When I walked in there and I was given this, I was given a stack of about two hundred pages. I don't know how much I've talked about this at this con so far; I talked about this recently somewhere. Oh, it was on the interview I did, first day. It's gonna go up on the air somewhere. So, about two hundred pages. I can release that number because Tom Doherty released it at DragonCon, I believe it was. [It was at WorldCon 2008.] He got up and said, "This is how much we had." And, Robert Jordan was what we call a 'discovery writer'; George R. R. Martin calls it a 'gardener'. He would not write chronologically; he would write on whatever occurred to him at the moment. He would 'discover' his way through a book. He usually had an ending in mind, and things like that, and important scenes he was gonna write, but he would very much just feel it out as he went. This is very common among writers; it’s one of the main archetypes of writers there are out there. Stephen King does it this way too. Neil Gaiman says he does it a lot this way too. You kind of feel your way through.

But what it means is that what was handed to me, they had been arranged by Alan, one of the members of Team Jordan, into an order that he kind of thought they might go in, but there was really no indication from Jim [as to] the order of these scenes. They were just a list of scenes. And where those had come from are scenes that he had worked on, which a large number of them were half-complete, because he would just write on what he felt like at the time, get a few pages in, then set it aside and then think about it some more while he’d work on something else. So there were a lot of fragmentary scenes. There are a lot of scenes you’ll be reading in these three books where it’s like three pages of Robert Jordan and like three pages of me making up a scene, or a page or Robert Jordan, two pages of me and then another page of Robert Jordan, or things like that. A lot of those, there are places here and there where I’ve grabbed a paragraph of his, because the rest wasn’t finished, it was just a paragraph where he said, “It’s going to do this, and then here’s this paragraph of this great sequence.” And so a lot of it was like that.

A lot of it was interviews. During the last months, his cousin Wilson and members of Team Jordan would be talking to him and Jim would start talking about scenes. There’s a famous one, “There’s a ______ in the Blight,” which is a quote from Wilson. That was a time when Jim told him—you’ll have to have him tell that story some time, it’s awesome—but Jim just started going off—Jim is Robert Jordan, for those who didn’t know—Jim would go off on...he just talked through this entire scene. And that’s one of the ones that we had the most understanding of, in a lot of ways, some of these scenes where he would talk about them.

For instance, the first scene in The Gathering Storm, there’s a prologue with an old farmer sitting on his front porch. This scene was dictated by Jim, and we actually had the recording of that, it got played at JordanCon I. And the interesting thing, if you were to have listened to that or if I can just describe it to you. It’s all in present tense. It’s like, “There’s this farmer, and he’s sitting on the porch and he looks up and he sees the clouds. These are black and silver clouds, and he’s never seen black and silver clouds before; they’re very striking.” And Jim goes through this whole narrative like that. Well, that’s very complete as a scene, he does the whole thing. And yet it’s in present tense, without a lot of the language turned into written language; it’s talked through.

Jennifer Liang

Right, there’s one point where he describes a sound as sounding like a freight train. Well, you can’t say it sounds like a freight train in the Wheel of Time, that doesn’t make any sense.

Brandon Sanderson

Exactly. There’s that scene, so I had several of those scenes, where basically I can keep Jim’s voice intact and just tweak the words a little bit to make them fit and add in a few sentences of description here and there, and we had several of those scenes. Then there were the Q&A scenes, which were Maria saying “So what happens to this character?” “Well, let me tell you what happens to this character.” And then Jim would talk. And so because of those Q&As, we knew a lot about the ending—a whole ton—and he did write the last scene himself and he talked through where everyone ends up and things, and so the bulk, and I’ve said all along, the weight of what we had from him was about that ending, where he would go and say “Here’s what happens to this character,” and it’s really talking about here’s what happens to this character in the Last Battle and then after the Last Battle, assuming there is an after the Last Battle, this is where this character would go. And so we have that basically for everybody.

Jennifer Liang

You and Harriet had a great way of describing it at one of the book signings for The Gathering Storm. You said that you had a map of the United States and you knew that at the end of the book that Perrin ends up in Chicago, but he starts off in like Orlando, and you know that he has to go to Los Angeles before he can get to Chicago, but you don’t know all the other steps in between and why he’s going to Los Angeles, so they had to figure out all the in-between parts.

Brandon Sanderson

Yeah, there are great things where there’s just like a line from his notes. “And then Perrin is here doing this.” And you’re like “What? Perrin’s in Malden, how is he gonna get there? And he’s going to do what? And then he’s got to be up here to do what?” And then we know the ending, what he’s doing there. So, there was a lot of that. So, this all became the book, where I built an outline out of this, I took the scenes that he had said. The thing about the notes is that a lot of the notes were to him, and so he would say things like “I’m going to do this or this” and they’re polar opposites. And so there are sequences like that, where I decide what we’re going to do, and stuff like that. And this all is what became the trilogy that you’re now reading.

Yes.

Phillip

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?

Brandon Sanderson

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.

Joe O'Hara

Was it daunting seeing just that small amount of work that was taken care of before you stepped on?

Brandon Sanderson

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?

Jennifer Liang

Yeah, we got the page on Cadsuane and...

Brandon Sanderson

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.

One odd thing I've heard—and noticed—about new writers as opposed to more experienced writers is that the more experienced ones tend to make their books last longer. Many first books take place in a matter of days, or perhaps weeks. Yet, books by more accomplished writers tend to span months or years.

It might just be coincidence relating to books I've read. I mean, there doesn't seem to be any reason it would be true. Yet, it certainly holds for myself. My first books happened very quickly—even ELANTRIS, which was my sixth, happened in only the space of two months. Yet, in MISTBORN, I let more time pass between sections and chapters.

I think, perhaps, newer authors are intimidated by plotting over such a longer stretch of time. Or, perhaps, it's just something unconscious.

Either way, we've jumped in time—something necessary for this book, considering the amount that needs to be done in order for the job to get pulled off. This was one of my first clues that I couldn't do a straight-up heist novel with MISTBORN. The book covers too much time, and too much has to happen before the ending can occur. I just didn't feel that most of what the crew would be doing would be interesting to a reader, and I wanted to focus too much on Vin's character growth to let me focus on the 'heist' of stealing the atium.

I'd just like to point out that Sazed heard Kelsier approaching before Vin did. That should mean something to you. This is also the first time we get Vin wanting to ignore Reen's voice in her head. That is, in my way, an acknowledgement to the progress she's achieved during the last few months.

The mists and Allomancy feeling right to Vin have something to do with the ending, where she draws upon the mists for an extra burst of power. I'm afraid I can't say more until we get to future books.

It will be very hard to do simply because, you know, you would have a lot of sentences that would four colors in them (laughter), because, here are three words from Brandon; here are a couple of words from Robert Jordan; the rest are from Harriet, that she has edited, and then here's the insertion by Maria as she's doing the copy-edit, that something needed to be [put] in. It would be very difficult to get right.

The other thing is, Harriet has several times expressed a reluctance to let people see the notes because she doesn't want people focusing when reading the books on what was me and what is Jim. I do still kinda tend to work on her and see if I can get her to let us do something with the notes. I'm not too expectant—if it doesn't happen I'm gonna be fine—but I tend to ask on behalf of the fans, people like yourself, and if I can do that I can then bring them out and I will talk a little bit more about that.

One thing that I've said to people a number of times, that in each of the three books there is a prologue [scene] that Robert Jordan wrote almost completely, or completely, for the prologue of the book, then since we split it in three, I took one scene from each completely that is Robert Jordan's—and there are a few fragments in each prologue as well that were also his—but there's one complete scene in the prologue. In the first book, it was the farmer sitting on the doorsteps watching the storm; that was one of the scenes he dictated, and we actually at JordanConI got to listen to that dictation. In the second book it was the Borderlander tower with the soldier and his son; that was one of the more complete scenes we had from Robert Jordan which had some minimal revision and editing during the process but was basically a complete scene that he gave us. And there's one like that in the third book as well.

In The Gathering Storm, I've said before that, as the notes went, Rand was a little more me; there were fewer notes on Rand. There were more notes on Egwene. We're both involved in all the viewpoints, but Rand from that is a little more me, and Egwene's a little more Robert Jordan, and then in Towers of Midnight, Perrin's a little bit more me, and Mat is a little more Robert Jordan. And maybe we'll be able to release more than that, but so far that's about all I've said. There are certain scenes that he did write, by the way—I'll give you everything; this is what I've told people; I haven't told people much—but there's a certain scene in The Gathering Storm where Egwene has an unexpected meeting with an old friend in the Tower. That one was done by Robert Jordan. And in Towers of Midnight, there is...most of the Mat stuff including the ending where a certain engagement happens was Robert Jordan.

I would hope that it helped. I assume that it helped, having loved big epics all along. You know, there's this thing that happens to you when you fall in love with a series like the Wheel of Time. I think a lot of George R.R. Martin fans are going through it right now, which is where you have to make this decision....it happened for me actually right between books five and six on the Wheel of Time, where you make the decision, well, I have to be along with this for the long haul, and stop being frustrated about when books come out and things like that—because, you know, we all kind of go through that—and finally decide, I'm just going to read this wherever it takes me, because I love it so much. I love he's doing; I'm going to stop being frustrated, and I think that switchover in my head really helped me with the Wheel of Time books, because I stopped being, you know...people complained at like book ten, and things like that, and I wasn't there; I was just enjoying what I got, because I'd already made that switchover; I wasn't waiting so much for the ending as just enjoying the ride, and I think that helped me to kind of appreciate it for what it is, and falling in love with the big epic like that.

The other thing that's helping me loving things like the Wheel of Time is I think that those of us of my generation who got to read things like the Wheel of Time, and got to read Game of Thrones while it's coming out—A Song of Ice and Fire—are able to see what the masters of the genre are doing with the grand epics, and hopefully build upon what they have done, learn from them. I know Robert Jordan said several times that he feels there are mistakes he made in writing the Wheel of Time in the way he did; I think he actually, after the fact—um, James [Luckman], you can tell me if I'm wrong on this. Didn't he say he would have done book ten differently if he'd had to do it over again? [Luckers nods.] There are things to learn from what Robert Jordan has done. They have paved the way. Robert Jordan was really the first one to tell a grand epic on this scale, ever, in fantasy, and so being able to read that really I think helps you as a writer yourself to say, "Wow," you know, "someone has plowed through the snow, and so I can follow along behind and hopefully not make some of the wrong turns."

Excellent question. I read the ending—Robert Jordan wrote it himself, the last chapter, and I have put that into the last book unchanged—I read it and I was deeply satisfied with it. That is the word I always use: satisfying. It was a satisfying ending. And I didn't read that and ever think, "No, we're going to change this." I don't think it ever needed it. What I did is I said, "That's my goal. That's my target. I have to get us there in a satisfying way to match this ending." And my goal all along is to live up to that ending. The nice thing is, being a creative person, there were certain holes. There were things that he, you know....I know where that last chapter is, but there are big gaps along the way, some places where I got to say...I get to do some things I've been looking forward to doing, looking forward to having happen in the Wheel of Time, and that was really a treat to be able to sit down with that outline and say, wow, there's a place here for the thing I've been waiting as a long time as a fan, he doesn't say either way. I can make it happen.

And so I got to do a lot of those sequences, and then there are a lot of ones he left instructions on as well, and so my goal has been to...always my default is, if Robert Jordan said it, don't change it. However, that said, you can't do a book like this without being willing to be flexible in your outline. I never wanted...never changed that ending and I never have, but there are things along the way, particularly when he would say, I'm thinking of doing this, or maybe this other thing that's opposite, and sometimes I'll choose between one of those two, and sometimes it's neither one and it has to be a third thing. In a creative process, you really have to be willing to do that; you always have to be willing to toss aside what you were planning to do when something better works for what you're building, so and that has been that process. And after the books are out, I hope to be able to be much more forthcoming about what those things were and show some of the notes, if Harriet will let me, and show how they were adapted. I'm not sure if she will let me. It's really her call. Her argument has been that she doesn't want people's last memory of Robert Jordan to be his unfinished things, which is a really solid argument, and so hopefully she'll let us see some of it, but I can talk more freely about this after the last book's out.

The Fantasy Series

I'm in the middle of an experiment. My newest book, Warbreaker, is a stand-alone epic fantasy, much as my first book Elantris was. Obviously, I'm not the only one to release stand-alones in this genre. There's a grand tradition of it, and some of my personal favorite books are stand-alones. I'm curious to see how readers react to me jumping away from a series and doing another stand-alone, as it's something I want to do fairly frequently.

And yet, though I don't let the sales choose what I write or publish, I do let them worry me. Really, releasing this book should be like releasing any other. I'm excited about it, I put my soul into it, and I think it represents some of the best writing I've ever done. And yet, at the same time, I know there's going to be less excitement about it from the readership than there was for the final Mistborn book. Stand alones tend to get reviewed more and better, they tend to make fans happy, and yet they just don't tend to sell as well. (I don't know for certain—I won't see numbers on the release week until next Wednesday.)

Ever since Tolkien had to split Lord of the Rings, there has been a strong tradition of the fantasy epic coming in installments. We fantasy readers like lots of worldbuiling, lots of depth of character, and lots of viewpoints. And yet, at the same time, it seems that we like to complain about the length of the series. We want them to be long—but we don't want them to be TOO long. The problem is, we all seem to have a different definition of what makes a series "too" long.

If you look at the figures, the Wheel of Time didn't start hitting #1 on the New York Times list until its eighth or ninth book. It took Goodkind longer, with Sword of Truth. I believe the eleventh book was the first to hit #1. Even while people were complaining about these series, they were buying more and more copies of them. Perhaps that's what was making them complain—they really wanted an ending, and were willing to read until they got to it. They just wished they could get the ending sooner.

Or maybe the ones complaining are just a vocal minority. Still, the genre's love of the huge series does worry me a little. The length of a story shouldn't be dependent upon what the market wants, but what the story itself demands. If I write a story that I feel takes one book, I want to (and will) release it as one book. If it takes three, I'll do three. If it takes ten, I'll do ten. I hope to have the flexibility to be doing a little from each of those piles during my career.

Yet even as it worries me, there's a piece of me—that fantasy novel lover who grew up as a teenager reading Eddings, Williams, and Jordan—that pushes me to do something BIG. Something grand in scope, something massive, long, intricate, and...well, epic.

So what are your thoughts? Short series? Stand alone? Big epics? Why do the long series sell so much better when people are vocally claiming they wish there were more stand alones and trilogies out there?

Magic Sword ex Machina

Let me tackle the question about deus ex machinas. (Dei ex machinae? Dang, I've taken either too much or too little Latin.) Could such a thing work in modern fantasy, and how?

Yes, I think it could. But you're running into the middle of the intersection of fiction and reality. And you know what can happen when you run into an intersection.

To answer the question requires context (which you probably know, Brandon, but is relevant for those who haven't studied this).

One paragraph infodump: The Greeks of the fifth century BC believed in many gods, and they believed those gods intervened in real life (especially with the heroes who were so often the gods' own kids). The original plays happened during a religious festival. So part of the point of the drama (as my Classics prof explained it) was that humans make a huge mess—and need the gods to come straighten things out. Thus, the Athenians get rid of the endless cycle of personal retributive justice (you-killed-my-family-member-so-I-must-kill-you-so-your-family-must-kill-me) in the Oresteia only through Athena's intervention and establishment of the rule of law. (She sticks the Furies into the ground beneath Athens, if I remember correctly.) Intractable problem solved.

We don't believe in Athena (sorry, neo-pagans, but generally...), so reading that ending is interesting metaphorically and sociologically and historically. But it is much less interesting to us dramatically. And it doesn't fill us with religious awe. We're just not going to express a heartfelt, "Thank you Athena for sparing me!" (Stop me before I talk catharsis and Aristotle's Poetics here. No really, stop me!)

A deus ex machina written now runs into entirely different audience expectations. It just looks like the author cheating. "Hmm, the way I've set things up, the good guy will die, but I don't want that. So... magic sword!"

I think there are only a couple routes you could use if you really wanted to write a modern day deus ex machina that worked. First, you could set up a fantasy world in which the gods do regularly intervene and play favorites, and where mortals need them. It could be done well. However, at the end of that book, you're still not going to get religious awe from your audience. I think you can get everything else.

So I think the only way to have the full effect that Aeschylus got would be to write your epic fantasy specifically for a particular religious audience: set up your deus as a Hindu goddess for a Hindu audience and then have her act in ways consistent with what they believe is her character. Or a Christian God for a Christian audience, or what have you. I guess the limiter here would be that you'd have to choose a religion which believes in an intervenient God. Deists, you're hosed.

Is that success?

We have a strong rationalist thread in fantasy right now, a demand that the magic system be explained and consistent so that the author doesn't cheat at the end. If magic figures importantly to the plot, we want it stitched in there like a good mystery: all the hints were there for us to figure it out for ourselves, we just didn't put it together. There's an intellectual pleasure to it: Well played, Mr. Sanderson! Compare that to the magic of Tolkien's Gandalf. The guy is treated like he can pull mountains down on your head, but mostly he just uses the Magic Staff Flashlight. Come on, Tolkien, how about a chart of what the Rings of Power do? The people demand a graph!

(Tomorrow, I'll hit your second post regarding short chapters and what is clearly your tragically flawed view of cliffhangers.)

A question I had, if you're still answering. I believe you said on your blog that the "very last scene" is Robert Jordan's, and touched very little by you.

Could you please specify what you mean in this? (Last scene of the main story arc, last section of the epilogue, last section of the last chapter, etc)

Thanks for all the work you have put into the series!

AreYouReadyToReddit

BigRedDSP

Brandon Sanderson

moose_man

Brandon Sanderson

moose_man

Leigh Butler's spoiler-free comments on A Memory of Light

philosophyguru

Brandon Sanderson

Brandon Sanderson

So how long is the series going to be? RJ's answers from 95–06

Friend of mine posted this on Dragonmount and I got a kick out of it, a timeline of RJ's estimates on just how many books the series was going to be:

1993

He still isn't sure how long WoT will go on for, saying probably seven books but adding that when The Eye of the World first came out he saw the series as four books.

"At present I am indeed hoping to complete the cycle in either seven or eight books. I am 90% confident that I can do it in seven, 95% confident that I can by eight. The thing is, as a famous manager of an American baseball team once said: 'It ain't over till it's over.'"

1994

"It will last several more books, until I reach the last scene, which has been in my head since the very beginning."

"I do hope there will not be ten books all told. I'm planning for eight, at present, and hope very strongly that I can wrap it all up in that length."

He said he writes as the ideas come and he has no clue as to how long the series will be!

"I knew from the start that I was writing something that would be multiple books. I just never knew how many, exactly."

Not only did he decline to set the number of future WoT books, but he denied ever setting a number and says he never planned it to be only a trilogy. But he seemed to indicate he was planning 9-10 books total. When faced with the prospect of about twelve books, his wife threatened to divorce him and his editor began to make jokes about the Irish Mafia.

"Several. Some. A few. I'm not even speculating now on how many books I hope it will take, because every time I do mention a number I hope I can finish it in, it turns out to take longer. It will be at least eight, because I've signed the contracts for books seven and eight."

"I've stopped saying how many more books there will be."

"At one time, I did hope for eight; now I don't think so. I certainly hope (Please, God!) it doesn't go to ten books, but I have stopped saying anything except that I will write until I reach the last scene of the last book, which scene has been in my head from the beginning."

1996

"There will be a few more books, some, not a lot, hopefully fewer than seven more."

"It will be at least ten books, yes. There will be some more books, not too many, and please God, not so many as I've already written. I am, in truth, writing as fast as I can. I want to maintain the pace of the story until I reach the final scene, which has been in my head since before I started writing The Eye of the World."

1997

"There will be at least three more books. I'm not saying that there will be ONLY three. I'm saying that I can't finish in fewer than three."

1998

"I believe—believe!—there will be three more books. I am trying to finish up as soon as possible, but I cannot see how to do it in fewer than three books. That isn't a guarantee, mind! In the beginning, I thought that there would be three or perhaps four books total, but it might go to five, or even six, though I really didn't believe it would take that long. It wasn't a matter of the story growing or expanding, but rather that I miscalculated—brother, did I!—how long it would take to get from the beginning to the end. I've known the last scene of the last book literally from the beginning. That was the first scene that occurred to me. Had I written it out 10 years ago, and then did so again today, the wording might be different, but not what happens. It has just taken me longer to get there than I thought."

"When I finished A Crown of Swords, I said it would take me at least three books more to finish. Now that I have completed The Path of Daggers, it looks like it will take me at least three more books to finish. Believe me, guys, I'm trying as hard as I can to get there as fast as I can."

"I don't have a set amount of books planned. I believe it will take at least three more books to reach the ending that I have known for more than 15 years."

"Remember, after A Crown of Swords I said at least three more books....the same thing I say now."

The usual "at least three more books" was mentioned several times in an increasingly loud voice.

"I am only asked that question by about 300 people a day. The answer is that there will be at least three more books. At least. As I said earlier, I know everything that I want to happen and I have known the last scene of the last book for fifteen years. I also know that I cannot get everything that I want to happen into less than three more books. So that's where we stand at the moment."

1999

Firstly, RJ said three more books "at least" and that he'd try to do it in three if he could, but he couldn't promise it would be only three. And he said he thought it would take "at least five years".

2000

"Sigh! At least three more. I know I've said that before, but it's still the case."

"It still sits at three more books to finish, but I've always said from the time I began using the three books that it would be AT LEAST three books—that I'd try to finish in at least three books, but I couldn't promise. I know that I couldn't possibly finish in fewer than three. If I can finish in three, I will. But that's what I'm hoping for, what I'm trying for. NOT a promise."

"There is no set number. It takes as much space as it takes."

2001

The next book will be out very soon after he's finished writing it. He don't know how many more books there'll be. At least three. If he can finish it in three, he will.

There will be no more than five, but also no less than another three books to be expected to appear in The Wheel of Time series.

"There will be at least three more books. The next book will be in bookstores very shortly after I finish writing it, and Michael Jordan is my kid brother whom I taught to play basketball."

2002

"After Crossroads of Twilight, there will be two more books, knock wood, God willing and the creek don't rise. I never intended The Wheel of Time to be this long. The story is progressing the way I planned, but from the beginning I believed I could tell it in many fewer words, many fewer volumes."

"I think twelve."—Harriet

2003

When asked "how many more books?", which of course met great laughter, he responded that he had started the process intending to have only five or six. Now on book 10, he remarked that he would complete the series in two more books if at all possible. If not, then three.

Jordan showed up around 7, and gave a little speech. He said there will be at least two books, and that he will not write a word more than he has to.

"How many more books will there be? There will be at least two more books. I apologize for that. I cannot finish it in fewer books. I will try to finish it in two more. I have known the last scene of the last book since 1984. I know where I'm going. The problem is...[my tape is once again inaudible and this was one of the few parts of his speech I could not hear, sorry gang]. That's about it."

"I really hope—knock wood, spit over your shoulder, and sacrifice to the gods—that I can finish up in twelve books total. We shall see."

"No, at least two more books, I'm afraid....I've had some people say they'd like five or ten, but I generally throw something at them."

2004

"I hope—please God, are you listening?—that there will be only two more books in the main sequence."

"I very much hope to finish in two more main sequence books. It's not an absolute promise, but I'm very much hoping for it and I think I can do it."

"I sincerely hope it will be possible to tie everything up in two books."

2005

There is only one book left in the series but it will be a doozy. He will fight to prevent it from being "George R.R. Martined," or split for publication.

"I am committed it is going to be 12 books, even if it is fifteen hundred pages long and it requires you to bring a luggage cart to get it out of the store. Bring your knapsack, you may need it, because no matter what the case that is going to be it."

"One more—the twelfth book. That will be so even if that book has to be 2000 pages in hardcover, and require a luggage cart and shoulder strap to get it out of the store."

"I have said it before and will say it again. There will be one more book. Even if it has to be a 1500 page book. It will be the last book even if you have to use a luggage cart to move it."

"For Segovia, my intention is finish with twelve books, and that may mean that the last book will be VERY long, but I really can't say how long it will take me to write. My publisher is always trying to get me to commit to a time frame. I just do a little sand dance until he goes away. I carry a small bottle of sand with me in New York for exactly that purpose."

Book Twelve will end the main sequence if he has to personally go to New York and beat the publishers at Tor, even if it runs two thousand pages and they have to invent a new way to bind the books (shudder). There will be two more prequels a la New Spring, and there might—very big MIGHT—be another trilogy in the same universe.

First, "the next book will be out very shortly after I'm done writing it." Next, "the next book will be the last book, even if it's 2000 pages, and you need a luggage cart to carry it out of the bookstore."

"Can we all say it together? One more book. I don't care if it has to be 2000 pages and you have to wheel it out the door. One more book."

2006

"After Knife of Dreams, there's going to be one more main-sequence Wheel of Time novel, working title A Memory of Light. It may be a 2,000-page hardcover that you'll need a luggage cart and a back brace to get out of the store. (I think I could get Tor to issue them with a shoulder strap embossed with the Tor logo, since I've already forced them to expand the edges of paperback technology to nearly a thousand pages!) Well, it probably won't be that long, but if I'm going to make it a coherent novel it's all got to be in one volume."

archaeonaga

Brandon Sanderson

archaeonaga (January 2013)

Brandon Sanderson

archaeonaga

Brandon Sanderson

Mark Grayson

He let us ask some questions but didn't give any new details that aren't already out there. The info on the prologue came up as he was talking about his progress revising the book and how the ending was pretty much all RJ and didn't even need to be polished. He then mentioned that parts of the prologues of all 3 books had been written or dictated by RJ but the scene that was released was not one of them.

In 2005, Wheel of Time author Robert Jordan was diagnosed with a fatal blood disease, disrupting his plans to finish the beloved series. With his fans in mind, Robert Jordan worked diligently through his final days, writing outlines, notes, and manuscripts so that his masterwork could one day see completion.

His fans—the people who had stuck with him all these years from 1991 on—deserved closure. And, he had created an outline which gave them closure, and he wasn't able to finish it himself. We wanted Jim's story to be told.

Harriet McDougal

A friend was staying with me in the week after Jim's funeral and put a print-out in front of me and said, "I think you need to read this." It was Brandon Sanderson's eulogy for Robert Jordan. And it was—it was beautiful. Such an expression of love for the books and for Robert Jordan's work. And it ended, "Mr. Jordan, you leave us silently, but you leave us trembling." And I thought, gosh, this is the attitude I would love to see. Brandon at this point was a published fantasy writer, so I called Tom and said, "I want one of his books to read." His world, his people, his conflicts were all clear in my mind. And I called Tom, and said, "Tom, I think this is the guy."

Tom Doherty

And she picked Brandon. And we're just delighted because we think nobody could have finished it as well.

Brandon Sanderson

I had no idea how to react to this. I could barely talk when I replied to Harriet. In fact, I sent her an email the next day. It said, "Dear Harriet, I promise I'm not an idiot." Because I couldn't get out words. Yes, I wanted to be involved in the Wheel of Time. No, I didn't think anybody else could write the Wheel of Time. What do you do when you're in that situation?

Harriet McDougal

We met in December, and I picked him up at the airport, brought him back, and said I've got some hot soup on the stove. He said, "I'd rather have the ending if I could, please." [Laughs]

Brandon Sanderson

Which I sat in his chair and read, well into the evening that night.

It's really a weird experience. I discovered fantasy when I was 14, and the Wheel of Time books were the first series that started when I started. I have been following it all through, and it's also one of the few series that continued with me: I enjoyed it both as a youth and as an adult. Wheel of Time has always been there through my whole career, so I understand completely how [fans are] feeling about it.

But it is also a weird experience for me as a fan. I read Robert Jordan's ending in December 2007, so part of me has had the Wheel of Time done for five years now, and the rest of the world is finally getting to catch up with me. I think that people are going to feel a lot of what I felt when I read that last scene; I was very satisfied. I loved the scene, but there was also this deep sort of sense of, "Wow, it's actually over." The series has been going for 23 years, and we have joked in Wheel of Time fandom for 22 about when the ending would come. It's a reverent feeling, it's an excited feeling, and it's also a sad feeling.

Since Robert Jordan wrote the last scene, that actually made this whole project mountains easier. I had a target to shoot at. While I didn't have a ton of written material from Robert Jordan that I could actually put in—there are about 200 pages worth of scenes and notes that needed to become somewhere around 2,500 pages [Books 12-14 by Sanderson total 2,556 pages]—a lot of those 200 pages were summaries of scenes he wanted. Robert Jordan wrote by instinct. He was what we called a discovery writer, so what was handed to me was a big pile of half-finished scenes or paragraphs where he wrote, "Well, I am either going to do this, this, or this. I was thinking of this, but it could be this." Yes, cracking an ending is hard, and the Wheel of Time had a lot of loose threads. My job was to take all those threads and weave them into an ending, which was a real challenge.

When I was handed this project by Harriet [Harriet McDougal, Robert Jordan's wife and editor], she handed it to me as a collaborator, not as a ghost writer. It's not like building a shelf from Ikea, which is good, because otherwise my creativity wouldn't have been engaged. She handed me full creative control for the first draft, and then we went into the editing phase where we really worked on it to make sure that it fit her vision and Robert Jordan's vision for the series. But going into it, nothing was off-limits. So I wrote them like I write any novel. Nothing is taken for granted, nothing is sacrosanct.

Was it your decision to split the final installment into three books?

"Robert Jordan was always telling fans that this book was gong to be so big that they'd have to invent a new binding system to get it out the door. When I was offered the project, I got all his notes and then spent about five months constructing an outline until I'd built the ending that I felt he'd indicated. I felt that he wanted it to be this big epic story and when I have an outline, I can usually tell how long the story is going to be. I realised that it was going to be a pretty big book—I was estimating it to be about 800,000 words, which is just enormous. I told Harriet and the publisher that this is what Robert Jordan wanted and what the story deserves. They then asked me if there were any places where I could split it. I agreed to do that as long as they would let me decide where and how to do that. There are some natural break points but it has to be done the right way. I haven't expanded the outline or lengthened what I felt the story should be; I've just portioned it into three volumes instead of one massive volume."

Boy, that's a hard one, because those are going to be personal moments. You describe it quite well, but it's the sort of thing that happens with writing any series. The most personal moments for me honestly happened when I read the ending years ago. For me, the series has been finished already for all of that time. It has been an emotional experience, and I'm certain it will continue to be one.

You also have to remember that writing this was very draining, and that has kind of the opposite emotional effect. But I'm not a terribly emotional person. I'm not sure I can come up with anything specific other than that night sitting and reading the ending that Robert Jordan had written.

This is spoilery, but there's also the moment when I wrote Egwene's death scene—that was probably the most emotional scene I wrote. I finished it, and then it was like a "wow, so that just happened" sort of moment. I don't know if I can describe it in the same way.

For you, reading the book, these moments are going to come like unexpected smacks to the face. For me, I spent five months working on the outline for this book specifically, after I had spent months outlining the other two books. So I knew what was coming, and that makes it a different experience.

Perrin forging his hammer is probably my favorite that I worked on extensively. My favorite that Jim worked on extensively would be Verin's last scene. Rand atop Dragonmount at the end of The Gathering Storm is a pretty big one for me. In the last book, my favorite would have to be Lan's charge right at the end, which is a scene that I worked out years ago, that I pointed a lot of things toward, and specifically in this book built a lot of things around. For a fun scene, getting Mat on the back of a raken was a pure joy for me to be able to do.

What other scenes really stand out to me? Robert Jordan's last scene, which I've mentioned before, is a great one because it's become the focus, for me, for the entire sequence that I have written. From the beginning, that was the ending that I was working toward. So I was very excited to be able to actually get there.

That's just a few scenes; there are a lot of them in this book and the series.

Soon after I was tapped to help complete the series, I asked Harriet about the last scene of the book. (The one that Robert Jordan had, over the years working on the series, promised fans he knew in detail.) She told me that he had indeed written that scene—and though there were large swaths of unfinished portions of the ending that he hadn't had time to work on, he'd been determined to get that last scene on the page.

You can imagine my excitement. I flew out to Charleston for the first time in late 2007—before this, I hadn't read any of the materials, as Harriet preferred that I come get them in person. After a long flight from Salt Lake City to Charleston, Harriet picked me up at the airport and drove me to her house in the city. We got in at nine or ten, I recall, and she had soup warming on the stove. She asked if I'd like some. My reply was, "If it isn't too much trouble, I'd like to read the ending please . . ." Holding my enthusiasm was somewhat difficult.

So, I spent the next hours late into the night sitting in a chair beside Robert Jordan's computer (it had been moved, by coincidence, out of his office and into the sitting room) reading his ending to The Wheel of Time, then poring over the rest of the notes. I remember Harriet passing by once and asking—with a satisfied smile—"It's good, isn't it?"

And it is. As a Wheel of Time fan for nearly 20 years at that point, I found myself supremely satisfied. The ending is the right one. Somewhat unexpected, somewhat daring, but also very well done. I knew that whatever else happened—whatever mistakes I made—at least this ending would be there, as Robert Jordan intended. We've put it in almost untouched, with just a few edits here and there at Harriet's direction.

You're going to love it.

Brandon

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.

Brandon Sanderson
January 8th, 2013

What about the outriggers? (The sequel trilogy to the Wheel of Time series that Robert Jordan had planned to write.)

It's not going to happen. Harriet and I are both firm on this. Robert Jordan wouldn't have wanted it to happen. He said that he wanted the series to be finished, but he did not want anything more. (He was even uncomfortable with the idea of someone like myself finishing the series.)

Beyond this, at the Q&A on Monday, Harriet revealed something I previously haven't been able to tell you but that I've known for quite some time—that Robert Jordan didn't leave much of anything in the way of notes for the outriggers. There are, quite literally, only two sentences of explanation from RJ telling us what the plot of the outriggers was to be about.

So no, no outriggers. I highly doubt you will see the prequels either, and for similar reasons. All good things must come to an ending. And this is ours.

Why a delayed ebook release for A Memory of Light?

This is not my decision or Tor's decision, but Harriet's. She is uncomfortable with ebooks. Specifically, she worries about ebooks cutting into the hardcover sales. It isn't about money for her, as the monetary difference between the two is negligible here. It is about a worry that her husband's legacy will be undermined if sales are split between ebooks and hardcovers, preventing the last book of the Wheel of Time from hitting number one on either list. (Many of the bestseller lists are still handling ebooks in somewhat awkward ways.)

As the last books have all hit number one, she doesn't want to risk one of these not hitting number one, and therefore ending the series on a down note. (Even though each Wheel of Time book has sold more than its predecessor, including the ones I have worked on.) I personally feel her worries are unfounded, and have explained that to her, but it is not my choice and I respect her reasoning for the decision. She is just trying to safeguard Robert Jordan's legacy, and feels this is a very important way she needs to do so. After talking about the issue, we were able to move the ebook up from the originally planned one-year delay to instead come out this spring.

The best-selling series originally penned by the late Robert Jordan was first thought of as a trilogy; however, it has spanned 14 books and 23 years. When Jordan passed away in 2007, the series—and its ending—seemed to be in jeopardy. Then Sanderson stepped in.

Sanderson, who graduated from Brigham Young University and now calls Provo, Utah, home, was chosen for the job by Jordan's widow, Harriet McDougal, after he wrote a heartfelt eulogy for Jordan that was published on his website.

He felt mixed emotions about taking over the series.

Michael Mason-D'Croz

Brandon Sanderson

What were you thinking when you wrapped up the final chapter of the book?

I felt like a person who had just run a mental marathon. I was tired, I was satisfied, I was excited, and I was saddened. That was five years of my life writing, and twenty-something years of my life reading and working on it. It was really bittersweet. But you have to remember that that was tempered for me, because the ending that Robert Jordan had written—I had read that years ago. So in a lot of ways the series was already finished to me, and had been finished since 2007 when I read the ending.

That last chapter was his chapter. There were only minor tweaks that I put in; there's one scene that I added from a certain character's viewpoint. But basically, that whole ending sequence, the last chapter, and the epilogue, are Robert Jordan's. So it was more a matter of finally putting it in with the rest of the book. Now, it's finally done. The capstone that was finished five, six years ago can finally be slipped into place and the book can be complete. So all of those emotions were mixed together.

How extensive were the notes that you had to work with? Were all of the plot lines tied off, or did you have to find conclusions on your own for some of them?

Since Robert Jordan wrote the last scene, that actually made this whole project mountains easier. I had a target to shoot at. While I didn't have a ton of written material from Robert Jordan that I could actually put in—there were about 200 pages worth of scenes and notes that needed to become somewhere around 2,500 pages—a lot of those 200 pages were summaries of scenes he wanted. Robert Jordan wrote by instinct.

He was what we call a discovery writer, so what was handed to me was a big pile of half-finished scenes or paragraphs where he wrote, 'Well, I am either going to do this, this, or this. I was thinking of this, but it could be this.' Yes, cracking an ending is hard, and Wheel of Time had a lot of loose threads. My job was to take all those threads and weave them into an ending, which was a real challenge.

Are we going to be happy with the end of A Memory of Light?

The ending was written by Robert Jordan, and as a reader I found it extremely satisfying when I reached it. And so I feel very confident that the ending of the book is going to be what everyone has been hoping for and wanting—without being exactly what they expect. I think the ending that Robert Jordan wrote is just wonderful.

Robert Jordan's epic fantasy series The Wheel of Time, launched in 1990, quickly became one of the most popular series in the history of fantasy, though as the story continued year after year, swelling into many mammoth volumes, some fans wondered if the tale would ever be finished, especially after Jordan's death in 2007. But this month sees the release of A Memory of Light, the 14th and final volume, completed by author Brandon Sanderson, working off Jordan's notes.

"The last thing that Robert Jordan wrote is the last chapter of this book," says Brandon Sanderson in this week's episode of the Geek's Guide to the Galaxy podcast. "I felt when I first read it that it was a satisfying ending. I felt it was the right ending. It's been my guidepost for all the work I've done on this."

Brandon always tells the story about going to your house in Charleston for the first time, and you had some soup on the stove, which you offered to him. But he just wanted to read the ending. My question is: Did he ever eat the soup?

Brandon Sanderson

Marie Curie

Brandon Sanderson

What was Brandon given to start his work?

He received one scene from each prologue—the first scene from The Gathering Storm that was dictated, the Kandori tower scene from Towers of Midnight, and one scene from A Memory of Light that I will not state since it contains a spoiler. There were large chunks of the ending, including the entire epilogue. He received fragments of Egwene's visit from her "special visitor" inThe Gathering Storm, and a proposal at the end of Towers of Midnight. There were also discussions of scenes, and answers from Team Jordan.

Fortunately I can fall back on Tom Doherty, who answered this question, so I don't get in trouble. And I don't usually—I get in trouble a little bit sometimes. [laughter] There are certain things that I have to be careful not to say, to get into spoilers and things like that, but Tom Doherty did answer this. There were about 200 pages of material that was done, and that did include lots of different things. It included completed scenes; it included dictations that he'd done while he was sick; and it included fragments of scenes, and in some places, some Q&As with Maria and Alan, where they would say "You said this about a character; can you go more in depth on that?" And then there's like a page of him talking about that character and that scene, and those 200 pages were given to me, and I have used that as a guide in writing the books.

There were holes. There were some very big holes, which actually was exciting to me in some ways, because it allowed me to actually be part of this, rather than following a very strict "This happens, this happens, this happens." In fact, they weren't in order, which was also exciting to me, because I work from an outline, and Robert Jordan didn't. Robert Jordan knew where he was going, but he would often discover what was going on as he got the characters there. They call that a 'gardener'; it's George R.R. Martin's term for writing; it's how George R.R. Martin; it's how Robert Jordan wrote books; it's how Stephen King writes books. There are others of us that, we are more 'architects'; we build a structure, and then we work from that, and I was able to take all of these things and build a structure from it, and one of the gems in there was what is now the epilogue of the book you're holding, which was finished almost in its entirety—that whole sequence, with very minor tweaks by us—and that ending is the last scene that Robert Jordan talked about many times, that he knows how the book ends; he knows how the series ends. He did write that before he passed away, and that became like my goalpost; that was the thing I had to hit, was that scene, and everything leading up to that was to make that scene work. And so, when you get there, you can read...that epilogue is all Robert Jordan. Significant chunks of the rest of the books were too, but that one, you can just use as a marker, and say "Okay, this is his ending."

Excellent question, and the answer is it developed over time. Specifically, after I read that ending, I started to reread the whole series—the first time I'd read the series knowing I was going to be part of the series which...you have to approach it very differently, knowing you're going to be a part of it. And I took all of those notes, and I reread the series, and I built an outline using Robert Jordan's scenes as touchstones. A lot of times when you're building an outline—even Robert Jordan who was more of a discovery writer, I heard from Harriet did it this way—you kind of plan your book like you would plan a road trip, where you know you're starting in D.C. and you're going to end in San Diego, and outlining for me is putting in between them all the road markers of places you're going to go, and so I laid down this map where I said, "Okay, here's a scene he wrote; let's go there. Here's another scene he wrote; then we'll go there. Here is another scene..." and I used those as my touchstones to get me across this map toward the ending.

And I then had places where there were gaps, where I didn't know what happened in between, and that's where I would fill it out. "This is what I'm going to do here..." And I actually did a lot of that with Harriet and Maria and Alan in Charleston where we sat down, and I actually got big sheets of butcher paper—because I can be a visual thinker at times—and I would start with a character and start writing down where I thought they should go, and pitch different things to them. And I usually had a couple of different ideas, and they'd say, "Oh, this feels right; this doesn't feel right," that sort of thing. And together, we hashed that all out for all three books, because they were one book in our head then. One very long book, but one book. [laughter] And I then took those sheets of butcher's paper and typed it all out into a big, massive outline, which then I used across the next five years, working on the books, as my data post, and I used that to point me toward that ending. And that's where it came from.

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.

Jason Denzel

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]

Maria Simons

Hello. Great to see you all.

Jason Denzel

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.

Harriet McDougal

This is why I've had my nose in this book, is checking out what I plan to read.

Audience

Read the ending! [laughter]

Harriet McDougal

You wish! This is from chapter nine. [snip Rand POV] [applause]

My name is Niels Oleson. Tai'shadar [sic] Manetheren, and Tai'shadar [sic] Pleasant Grove. [laughter] That's where I'm from! Go Vikings!

The one question I have is—this wouldn't be a panel without asking—who killed Asmodean? [laughter, cheers] And I know you can't answer it, but is it in the book?

For those who missed it, it's in the, um...the glossary of Towers of Midnight. [boooo] It's actually mentioned in there who killed Asmodean. [laughter] Towers of Midnight, last book; it came out last year. Two years ago. [laughter] So, you've got your answer; you just have to go find it in there.

And let me give a little explanation on that, so you guys who haven't heard this story—I know many of you have—when I first went to Charleston—this was 2007, in December—I had signed the contracts, not knowing how much was written of the book or what was even available, because you know, that's how it had to go; I had to sign all the NDAs and things before I could see, so I flew out there, and picked up the material, so to speak—the material we call the notes and everything—and I got in very late because it's—you know, flying to Charleston from Salt Lake is uh, and you gotta connect at Atlanta, and things—you know, I get in late, and we walk in; Harriet picks me up from the airport, brings me in, and she—(to Harriet) it was bean soup you had made, or something like that—and you're like, "Would you like some food; I know you've been flying a long time..." I said, "No, I'd like the ending, please, thank you." [laughter]

So she laughed and got me the materials, and handed them to me in a stack, and I went in to the room—the sitting room—and I sat down to read them, and on the very top was a post-it note, on top of a page of a fan...fan information, like it printed off from the internet—a fan theory—and all it said is, "This is right." And the fan theory was about who killed Asmodean, and that's all we had, was a "This is correct." Maybe they have more—maybe Maria has more—but all I knew was, "This is correct." I didn't know the how, the why, or anything that this person...why they did this.

And so when it came time to put it in the books, I kind of almost jokingly said, "We should put it in the glossary, because we don't know, so we'll just put it in for fans in the same way we got it, which is just a post-it note." [laughter] "...We'll stick it in the book like a post-it note, in the glossary," and that's because we don't have the full story. And so we went ahead and did that, and then when I was writing the book, I actually worked it into the text, and Harriet wrote back and said, "No, no. I like this glossary thing; it's going in the glossary." [laughter] So, we cut it out of the text and left it in the glossary, and the idea is, you get to feel like we felt because I didn't know anything more than "This is it," so I gave it to you as transparently as possible so that you could have the same feeling of confusion that I had.

Harriet McDougal

And did you see where he got Moghedien from my basic character? [laughter]

Hi, I'm Michael Chantry from Podunk [?] Idaho—[claps] someone knows the area. Thank you for the books; they're amazing. Thanks Robert Jordan for the books. I like them so much I actually named my second child Perrin. [applause]

My question is to both Brandon and Harriet. I know you love this new book, A Memory of Light, that you've created for us, and out of it, is there anything that we... What is your favorite part? What did you enjoy most about it? If you can give us a chapter, a section...anything. I know you're going to say "the whole thing." [laughter]

(flips through book) [laughter] There's a 200-page chapter in this book. [hoots, buzz of talking] I felt it very thematically important, and my favorite part is right at the end of that chapter and the beginning of the next chapter, and the next chapter is actually very short, and so really, it's probably Chapter 39, but with the lead-in at the end of chapter 38.

Michael Chantry

And Harriet, do you have a favorite part?

Brandon Sanderson

(talks to Peter) 37 and 38? Okay, 37 and 38. Peter knows these things better than I do. [laughter]

Harriet McDougal

Well, I love the end of Chapter 23—the final sequence—and as you're aware from Brandon's other books, I mean a lot of the chapters will have a piece here, and then there's a two-line space and you jump five hundred miles away, and so on, but the last segment of 23 I think is just super. But there are an awful lot of things that I do love in this book; the scene I read for you is one of my favorites; there's more of it, but I thought, "Oh, I don't know; I think I'm getting on too long," because we hadn't quite timed it out. I think it's a wonderful book. [laughter, applause]

Jason Denzel

I know that the question wasn't directed up here to me, but I think I definitely need to say that—without being cliché—the ending, the epilogue, was far and away everything I could have hoped it was, and it was my favorite part of the book. It was just...I can't wait for all of you to eventually read it, and hopefully have the same kind of reaction that I did. It's pretty awesome.

Brandon Sanderson

I can talk a little bit more about that, because...I told you the Asmodean story, but next under that sheet was this, was the...were the scenes that Robert Jordan had written for the book. And so, that included sections from the prologue, which got split into various pieces of the various prologues of the three novels; sections out of the book; and then this ending, the epilogue, and it's one of the most...one of the scenes where you're able to preserve, a sequence that's the most close to the way Robert Jordan left it. Because a lot of scenes he'd leave, he'd leave like a paragraph, and then it's like I have to expand that into, or I have to work a whole thing and then have that paragraph in.

There's a famous scene, for instance, with Verin in Gathering Storm where he left, you know, the kinda...what you would imagine is the important parts, but it's only the important parts, and then it doesn't have a lead-in or an exit to the scene, and so I had to write up and then lead in to what he'd written, and then lead out of it, and that sort of stuff. And this, it's actually...we've got complete sequences that he wrote before he passed away. And so, when you get to that epilogue, you can know...there's some very non-touched-by-the-rest-of-us stuff that he had in a very good shape to be published before he passed away.

Harriet McDougal

And I should have thought of that, but as he read it in 2007—and so did I, and I had known some bits of it for years before that—but it really is splendid.

Michael Chantry

Thank you very much. [applause]

So, we are going to come to an ending here, but before we do, we have give-aways. [applause] And then, as a quick reminder, we have already signed all of the books, and you're going to be able to pick them up, and if you live locally, you could just grab your book—or even if you don't—and take off; you don't have to wait around—and you can find me at another point and get it personalized; I do plenty of signings around. If you want to hang out and get it personalized, I'll be here personalizing. If you have a question that didn't get answered, Maria is going to be sitting nearby answering questions until about 3 a.m. [laughter, applause] And the later it gets, the more sketchy the answers may become; we're not sure. [laughter] We are going to let Harriet go back to the hotel and get some rest.

Harriet McDougal

I'm playing the geezer card. [laughter]

Brandon Sanderson

But, you know, I do want to even personally give Harriet a thank-you for coming out for this. [applause, standing ovation]

Harriet McDougal

Well, oh! I would like to give you all a personal thank-you for coming out for tonight. Y'all have just been wonderful. And, thank you very much.

Brandon Sanderson

Alright, and we're going to do the give-aways, and after that we'll be going but, Harriet, do you want to go off and get the car and get going, or do you want to wait for the give-aways?

Harriet McDougal

I want to wait for the give-aways.

Brandon Sanderson

Okay, we're going to do the give-aways right now, and then we'll close it out. So...

I'm gonna say...[audio cut]...is the ending, writing the last sequences that I've been planning so long—because I always know what my ending is, and I tend to point everything at the ending—writing that last sequence is my favorite. For instance, my favorite scene to write in A Memory of Light comes right near the end. There's a very long chapter that you'll read; it's the last part of that very long chapter, into the next chapter which is very short. (something from audience) Yeah, it's 200-something pages.

Harriet McDougal

For good reason.

Brandon Sanderson

Yes, for good reasons.

Today at 4:00 Eastern/2:00 Mountain I'll be doing the #torchat here on Twitter.

Brandon Sanderson

@fionwe1987 (question about spoilers) @tordotcom That's a good question. Thoughts, Tor? Should I post a spoiler warning on all of this? Probably better to do so.

Brandon Sanderson

I'm starting #torchat. Tweet me your questions with that tag. SPOILERS ALLOWED. So don't watch if you haven't finished A Memory of Light.

Brandon Sanderson

Warning, I don't have time to look up of things in the notes during this, so I will frequently MAFO very detailed world questions.

Brandon Sanderson

Please do remember the hashtag. Also, I'll try to @ people directly to not flood your Twitter streams, so search for #torchat to watch.

I have been advised to RAFO questions regarding most everything from there on.

Brandon Sanderson

It's funny to say RAFO when there is no more to read, but what that term means is "This is supposed to be ambiguous."

David Catherine

With all of the homages to global myths/legends, is Nakomi the Wandering Jew/Jenn?

Brandon Sanderson

That's a very clever question that nobody has yet asked me. I'm not going to say more, however.

Ryan Lee

I gotta ask, is Nakomi / the Woman at the End a Shard of Adonalsium? Perhaps Balance?

Brandon Sanderson

No. There is not crossover between my shared world and the Wheel of Time. (Sorry.)

kcf

Who helped Rand out of the Shayol Ghul after the fight with the Dark One and told him he knew what he needed to do?

Brandon Sanderson

Hi, Neth. This is one I'm not answering, but if you track me down in person, you might be able to beat it out of me.

Terez

Is Nakomi the avatar of the Creator?

Werthead

SIFADFOE (Scream In Frustration And Don't Find Out, Ever) :-)

Terez

Yay, that means I can officially not give a shit about Nakomi. :)

Brandon Sanderson

You are allowed that right officially. She's becoming the Asmodean kill of this sequence of books.

Brandon Sanderson

I, of course, should have realized she'd become so big a thing as she did—but that wasn't the intention.

Melissa Houghton

I want to know what the heck was with Nakomi—who/what she is. Also was that her at the end of A Memory of Light?

Brandon Sanderson

Just answered this. Have a look below. (Sorry. It's a RAFO, I'm afraid.)

Peter Wikberg

Who/What is Nakomi?

Brandon Sanderson

That is a good question, but not one I'm planning to answer any time soon. (sorry.)

Arran Cook

Who was Nakomi? How did the body swap happen? How did Rand light the pipe?

Brandon Sanderson

You've asked all three of the big questions I'm not allowed or unable to answer, I'm afraid.

Lachie Stoller

Who was the old Aiel lady at the end of Rand's battle?

James Starke

Is Nakomi the person that Rand encountered at the mouth of Shayol Ghul? And is she the embodiment of The Creator?

Brandon Sanderson

This is one that I'm not answering, I'm afraid. RJ wanted some things about the ending to remain ambiguous.

Thanks, Bob. You rock.

An Algorithm

So what kind of prewriting did you do for A Memory of Light @BrandSanderson?

Brandon Sanderson

Lots of practicing character viewpoints. I also make a huge outline, which started on big sheets of butcher paper.

Sandy Stuckless

Is there anything specific process-wise you learned from completing WoT that you will apply to future projects?

Brandon Sanderson

I'm in awe of RJ's subtlety and hope to be able to transfer my understanding of that to my own works.

Avalyn

Did the ending of A Memory of Light influence the end of Emperor's Soul?

Brandon Sanderson

Not intentionally, but it's hard not to be influenced by projects like this.

Brandon Sanderson

For example, I wrote Rithmatist while developing the revision for The Way of Kings, and both ended up with a redhead artist.

Brent Holmes

Did the confrontation between Vin and Ruin in Hero of Ages influence the Rand v Dark One scenes?

Brandon Sanderson

Everything I do influences everything else, so I'd say yes—but in this case, I had RJ guiding me as a greater influence.

Simon Ponder

How does it feel now that the Wheel of Time is over?

Brandon Sanderson

Sad. Awesome, but sad.

Chris from Jax

Is it tough knowing you can't continue the story?

Brandon Sanderson

Yes, and no. I feel the ending is the right one. And I can imagine in my head what happens, so for me, that is enough.

There are far more reasons, worldbuilding wise, to believe it was real than to believe it was illusion.

TJ

Is Rand's soul in Moridin's body?

Brandon Sanderson

Ha. Right to the point, are you? Let's just say that trickery is not likely in this case.

TJ

Can you confirm that Rand's body was burned at the end of A Memory of Light?

Brandon Sanderson

Okay, fine. Yes, I will confirm that Rand's body was indeed the one that was burned. :)

Jonathan MacAlpine

Why didn't anybody notice when a supposedly-dead Moridin got up and walked away?

Brandon Sanderson

I'd say coincidence. But there aren't many of those in the WoT world.

Siraaj

Seems like a conversation between the Creator and Rand was missing where "switch" and Alivia's role in it are laid out—thoughts?

Brandon Sanderson

I believe that RJ included everything he wanted in this sequence.

Jason Cassidy

Why did Rand switch bodies at the end and why is he going incognito now? Did not understand that part.

Brandon Sanderson

RJ wrote these scenes, and intended to leave them as is. I don't think me delving into explanations is what he'd want.

El Brian

Did the bonding between Rand, Nynaeve, Elayne, and Min transfer over to the new body?

Brandon Sanderson

Yes, though I don't know how or why.

Kamarile Sedai

Why did the bond survive the body switch at the end of A Memory of Light?

Brandon Sanderson

I don't know. RJ did not explain this one to me.

J Crosby

How were Rand/Elan able to switch bodies?

Sean Duffy

How did Rand wind up with Moridin's body?

James Starke

Could you explain further about the body switch and how it was possible?

Brandon Sanderson

This is one that I'm not answering, I'm afraid. RJ wanted some things about the ending to remain ambiguous.

That is an excellent question...that I'm not allowed to answer. (Sorry.) I feel bad. I'm giving you lots of RAFOs.

Andy Nogar

Is Rand still ta'veren? If not, how did he warp reality and light his pipe at the end?

Brandon Sanderson

These are questions that I'm not answering, I'm afraid. RJ wanted some things about the ending to remain ambiguous.

Mike W

How can you still be RAFO'ing stuff? What is left to read?

Brandon Sanderson

To RJ, RAFO sometimes meant "Read, think about it, and decide." It didn't always mean "I'll give an answer."

Peter Binkowski

Is 'RAFO' basically to mean we're never going to find some things out?

Brandon Sanderson

There's a "Talk it over, see if you can figure it out" aspect to it as well.

You're assuming because it wasn't shown on screen, it didn't happen...

Brent Holmes

What happened in the conversation between Tuon and Arthur Hawkwing?!?!

Brandon Sanderson

It was interesting, I'll tell you that much.

Melissa Houghton

Did Hawkwing talk with Tuon?

Brandon Sanderson

Yes.

Nick

How do you think Fortuona reacted to speaking with Hawking?

Brandon Sanderson

With great consternation.

Speaking of adaptations, of course, you've taken over Robert Jordan's Wheel of Time series and sped up the pace of the story considerably, so as a long-time reader there, thank you for that!

Credit needs to be given to Robert Jordan; he started to speed up in Book 11 [Knife of Dreams]. In fact, I've read interviews where he admits that the focus was a little bit wrong in Book 10 [Crossroads of Twilight], which is the one that the fans complain about being the most slow, and he himself changed that for Book 11 and picked up the pacing. And I like spectacular endings. When I build my books, I start from the end and work forward with my outline. I write from beginning to end, but I outline end to beginning, because I always want to know that I have a powerful, explosive ending that I'm working toward. Endings are my deal: if a book or a film doesn't have a great ending, I find it wanting. It's like the last bite, the last morsel on the plate, so I get very annoyed with the standard Hollywood third act, because they seem to play it most safe in Act Three, and that's where I most want to be surprised and awed. That's where it's got to be spectacular. You've got to give the reader something they're not expecting, something they want but don't know it, in that last section.

Helen O'Hara

Does that go for something like your Mistborn Trilogy; did you start with the end of the trilogy or go book-by-book?

Brandon Sanderson

I plotted all three backwards and then wrote them all forwards. I had a great advantage writing those books, because I sold my first book, Elantris, in 2003. The nature of how books are 'slotted' into release dates is that a new author doesn't get the best slot. They want to give each author a good launch, but they can't give them in the really prime slots. So we had a two-and-a-half year wait, and usually you have a year between books. That meant I had three-and-a-half years before Mistborn would be out, so I pitched the entire trilogy together and wrote all three before the first one came out.

Helen O'Hara

Is that something you have in common with Robert Jordan, because re-reading the prologue to the first book you think, 'This guy knows how it's going to end'.

Brandon Sanderson

He actually wrote the ending that I worked towards. The last pages were written by him before he passed away. He always spoke of knowing the ending, so I think we do share that. He was a bit more of an explorer in his writing than I am. He knew where he was going, but getting there he wove around a lot. You can see that in the notes I've been given; he jumps from scene to scene. So there's a difference there, but he really loved endings. And that ending is really great; I think fans are going to love it.

How does the novel, Infinity Blade: Awakening, fit within the game universe?

It is a bridge directly from game one to game two. It begins basically right at the end of game one, and then game two overlaps. You get to play through the ending of the story, for the introduction to the game when you're going through the tutorial and whatnot. Then the game heads to new ground. This was actually really fun for me—I liked writing something and then having them say, "Wow, we're going to make this part of the game. It'll be our prologue."

Well, you've got so many things to tie up. And Robert Jordan, he knew that he was going to die. He knew that, and so he was writing as fast as he could. He got these notes. And you're working off of these notes, which is so great for the fan base, 'cause we get a feel for what Robert Jordan had in mind. I do have one question that everyone is asking me to ask you. [laughs] Are we going to find out who killed Asmodean?

Yes. He left notes about who killed Asmodean. To be included in the book. Harriet's decided where it goes. I can't tell you which of the three books it's going to appear in. But it is going to be in there and he did write the ending himself, of the entire thing.

Matthew Peterson

Oh, okay.

Brandon Sanderson

Which is just wonderful. It makes this book possible because I know what the ending is. He left a lot of material through the middle too, as well. But he left that ending. He'd been promising us for years that he knew the ending of the series. And he did. And he wrote it down. And so I'm really working towards the goal of getting to that ending and working with it in mind and so, yeah, you don't need to worry that the ending won’t be Robert Jordan's ending, because he wrote that himself.

Matthew Peterson

That is great to know. I didn't know that. Well, that is awesome.

Are you nervous about The Gathering Storm's reception?

I was a lot more nervous before I got it done. The fan community realizes that Robert Jordan wanted this book written, and they want to know the ending. There are going to be people who don't like it—I think that's inevitable. I can't write this book as well as Robert Jordan would have. That said, I think I've done a dang good job.

When asked about the ending he said he thought Robert Jordan left it open so the reader could fill in what happened for themselves. Then he said that he thought Rand probably did go talk to Tam before he left but maybe not Lan.

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.

Sanderson almost didn't take on the role. Not for lack of interest; rather, because he was too much of a fan.

"That was actually a consideration in this for me," he says. "I would not be able to read a Wheel of Time book when everyone else got to.

"I balanced it with the knowledge that I got to go and read the ending he wrote. Because he did write the last chapter of the series himself before he passed away.

"I got to read that basically before anyone else except for his wife and his assistants. Getting to read it a few years early was a pretty big advantage."

Imagine if J.K. Rowling had died before finishing Harry Potter, or if (as some fans fear) George R.R. Martin passes away before completing A Song of Ice and Fire, the bestselling series that's also the basis for HBO's Emmy-winning Game of Thrones. Now imagine you're the one who has to come in, bring the epic to a satisfactory conclusion, resolve dozens of dangling plot threads, all while dealing with a passionate and demanding fan base who'll never let you forget it if you fail.

That was the challenge set before young writer Brandon Sanderson when he was called upon to complete The Wheel of Time, a series of doorstop-sized fantasy novels published from 1990 to 2005 by Robert Jordan, a pen name for James Oliver Rigney, Jr., that have sold 44 million copies worldwide. Jordan's death in 2007 while working on the planned 12th and final volume of The Wheel of Time caused an uproar among those seeking to know the fate of hero Rand al'Thor and the other characters.

Enter Sanderson, the prolific young writer of the acclaimed Mistborn series. A longtime fan of The Wheel of Time, Sanderson was tasked with turning Jordan's partially-finished manuscript, pre-written ending and extensive notes into something that would successfully conclude the series, which eventually was split into three novels. (Jordan had once said the last book could run 2,000 pages; the finale trilogy collectively ran more than 2,500). That last book, A Memory of Light, was published in January to rave reviews and a spot on the top of the New York Times bestseller list.

Sanderson will appear at Quail Ridge Books and Music with Jordan's widow and editor Harriet McDougal on Feb. 20 to promote Light and answer questions about the series. We got him on the phone to ask what it was like to finally bring the series he loved to an end.

Harriet's going to be at the signing with you—I imagine that there's going to be a real overall tribute to The Wheel of Time at this event.

Yeah. What we usually do is the Q-and-A with fans, which is probably the last time they’ll get a chance at a signing like this to ask whatever they want, so we want to give them that—what it was like working with Robert Jordan, how the series came to be. A lot of times, fans are very excited to see Harriet and give her standing ovations. She was the driving force behind this—she discovered Robert Jordan as a writer and was behind The Wheel of Time getting published in the first place.

There’s a lot of tributes to her and Robert at these events, and they get pretty emotional, because for fans, these books were part of our lives. I started reading these when I was 15. I’m 37 now! The Wheel of Time has been with me longer than anything else. It’s been with me since before I wanted to be a writer, longer than I’ve known any friends that I’ve had.

Indy Week

That's got to be a hell of an emotional experience for you.

Brandon Sanderson

Yeah. The end it all is really weird . . . just to be at the end. And it's bittersweet, in more than one way, that I got to see it through to its ending, that I got to be part of it, but . . . this is it! There are no more Wheel of Time books to wait for. And that's a surreal feeling, to realize that it's all done now.

Indy Week

And it's got to be doubly overwhelming for you, as a fan and a writer.

Brandon Sanderson

Yeah. Granted, I had more time to steel myself for it. I got to read the ending Robert Jordan wrote, the epilogue . . . wow, back in 2007. I was one of the few who got to read that, to see that ending, and know how it ended.

There was still a lot of work to do, but I knew, "This is the ending, and I've got to prepare myself for it, because I know what it is."

For the fans, what they're feeling now, I started feeling it in 2007.

Brandon then came up and spoke. Here are some of the highlights:

"I read the WoT books all through my career, and all through college. I loved them, and at times hated them. Anyone else remember when Book 6 came out and it wasn't the end? I was not happy. I went through everything WoT fans seem to go through—the appreciation, and the transition from waiting for the ending to just letting Robert Jordan do what he wants to do.

In 2007, when he passed away, I was as surprised as anyone was. For me, I became a fantasy author in part because of my love for his books. I learned to write novels by reading his books, and I chose my publisher because it was the one that published the WoT books. So it was the end of an era. We talk about the end of the Third and the start of the Fourth—well the end of that age for me was when Robert Jordan passed away. I didn't think for a minute I would be here, five years later. It has been an amazing journey, and the last five years have been unparalleled.

I can't tell you how awesome it was to look through [Jordan's] notes and see things in the middle of their progress. As a writer, I haven't grown as much since writing my first book. It was amazing and wonderful, but over it all there was this cloud, that I couldn't have done this if my favorite author hadn't passed away. People ask me how I feel; it's a weird mix of emotions. It's probably similar to the emotions you will have reading the last page [of A Memory of Light]. It's wonderful and awesome you got to be part of this, but now it's done, and there's sadness. It's like Christmas: you've opened all your presents, and now what?"

After this initial Q&A session, Brandon and Harriet went straight back to the signing table. To keep everyone going, the Memory Keepers had planned a selection of games, including the crossword puzzle created by Wetlander for the Seattle Memory Keepers and a twenty questions-style game where fans had to ask yes or no questions to find out which character name sticker was on their back.

Tor provided swag for the Memory Keepers to hand out to those who could answer questions correctly. Later, Jaimie serenaded everyone with one of the humorous songs she wrote about the WoT.

The signing went until 11:30. All kinds of books came through the line, including Brandon's Alcatraz books, a few Ender's Games, and some very old copies of Wheel of Time books with Robert Jordan's signature in it. One of the fans present was he and Harriet's limo driver from a long-ago tour!

Finally, we wrapped up. It was an ending to our time enjoying Brandon and Harriet's company, but of course not the ending.

Below are some interesting questions fans posed to Brandon and Harriet. They include major spoilers for WoT and Mistborn! You have been warned.

One of my favorite portions of the evening occurred when I was walking near the end of the line and saw someone just reading the last few pages of A Memory of Light. I stopped and asked her if she was just about done. She responded that she had finished it and was just re-reading the ending. Knowing that she'd read the whole thing I struck up a conversation with her and another person in line, sharing all the things we loved about the whole story. After about 10 minutes another guy stepped into the conversation and we must have spent about half an hour talking about the things we loved. I especially enjoyed this because she really liked parts of it that I and other friends of mine found slow. This really opened my eyes up to all the different perspectives that were out there about this book and series.

Overall the time flew by so quickly and it seemed like it was over almost before it got started.

A huge THANK YOU TO THE CHAPTERS Metrotown team (Mary Lynn, Jimmy, Ching and all the rest of the staff) for treating us so well, especially with the Thank You and gift cards.

I didn't want to put out any spoilers so have kept parts of this a little vaguer than I might have done otherwise.

My team, Stefan, Alex, Dawn, Alex. It was wonderful to meet you and to share in this grand adventure together. May the light be with you.

Are there any characters in Wheel of Time that you could see having their own series?

Yes, because Robert Jordan was going to write a series about them. We call them the Outriggers. You can Google what the Outriggers were going to be about. However Harriet can tell you the future of this series.

Harriet McDougal

They won't happen. Well, the reason is, he left only two sentences. And you can't build a trilogy from two sentences. It would be purely the work of someone else. And Robert Jordan had a horror of that happening. He didn't want it, so it won't happen. I mean, he would have loved to write them, but he didn't want another person, even Brandon, turned loose in his universe. So it's not going to happen.

Brandon Sanderson

Yeah, we have to be really respectful of what Robert Jordan wanted, plus there's just the "stop while you're ahead" sort of mentality, that comes to a really great ending that he himself wrote. So adding anything else would just be a bad idea. So yes, I could imagine stories about lots of people, and if he were here instead of me, I would be in line begging him to write them. But we can't have them, so you'll have to imagine them yourself.