The Gathering Storm - Prologue to Chapter 1

In this section, conventional bonds and rules are broken while Rand makes a rule he vows not to break.

A borderlander farmer and his neighbors realize the Last Battle is upon them. They drop their lives, abandoning homes to set off to make a stand with their fellow men.

A sul’dam returns to deliver a message which will require her to break the taboos of her society.

A Seanchan banner-general learns that Trollocs are no myth, violently shattering her longstanding beliefs.

Graendal travels to Moridin’s fortress, where farmers try to plant crops that resist the Blight. Moridin lets her learn the other Forsaken’s plans, and unexpectedly, Semirhage is hung out to dry. Rand is to be unharmed, except in his heart, where she is to bring him anguish.

Ituralde surprises a much larger Seanchan army.

Masema the prophet is killed by Faile, who does what her husband cannot, killing the man who represents strict adherence to rules and the Light.

Most of these short sections show the bonds holding men being broken, in fact or metaphorically. The last one shows Faile killing the personification of rules that bind. The breaking of bonds, the end of custom, the shattering of ties between men. If this prologue matches the ones from past books, then we should see a lot more of this theme, and we will, especially as pertains to Rand.

Masema and Aram were each killed by Faile or Perrin, and each represented truth and strict adherence to convention and rules. This fits in with the discussion of their necessary dalliances in the previous book.

Demandred claims his rule is secure and he gathers for war. With talk of the role he should have been playing, keeping an eye on Rand the way Osan’gar was, his affinity for using proxies, the claim that his rule is secure, and the emphasis on channelers in the Last Battle, a reader should once again be hard pressed not to conclude that the least possible involvement Demandred could have with Mazrim Taim is telling him what to do, which is to gather an army of male channelers.

Rand surveys the countryside of Arad Doman, noting a pattern breakdown causing the wind to blow the wrong way, against itself. It is not the trees, but Rand’s banners which are blowing the wrong way though, a subtle clue that it is he who is at odds with the Pattern, that something is more wrong with him than reality, despite the many signs of it failing around him. The way his eyesight is blurred is a symbol for the difficulty he has in seeing things the way a normal man should. His sight and his view are both distorted. Setting the line that cannot be crossed, he says to himself: ‘ “You will question her, but you will not hurt her!”Not a woman. I will keep to this one shred of light inside of me. I’ve caused the deaths and sorrows of too many women already.’ No sooner stated, this rule is destined to be broken, as indicated by the themes in the prologue.

Moridin had ordered Semirhage to capture Rand, presumably to break him before the Last Battle. He must have two plans, one for if he is captured, one for if he remains free. The orders to Graendal to break his heart only become necessary because Semirhage failed. In either situation, the goal is to break Rand’s spirit.

A few bits of vocabulary and phrasing stood out as peculiar. I think they are more likely artifacts of Sanderson’s wording than Jordan choosing new words, because in past books his odd vocabulary included obscure words like widdershins, not contemporary words. Jordan was very good at avoiding contemporary words. Here are the examples I found:

Like the funnel cloud of a twister.

This ain’t no southerner wetfarm.

Rand’s peculiar apology to Merise: ‘Yes, yes Merise. I’m not trying to command you.’

Wouldn’t it just be ‘one of the High Blood’? Like the hair crest of a member of the High Blood.

They were well inside the Seanchan defensive perimeter.

Lews Therin’s rambles have no pronoun. Should have killed him. Should have killed them all. An oversight? Meant to make Lews Therin sound madder? There has usually been a distinct I, You, or We when Lews Therin speaks, signifying the distinct personality. Is this meant to show him growing indistinct from Rand?

Writing Lessons:

Using contemporary words, or older words, or futuristic words all have an effect on how the reader perceives the world you’ve created.

Knife of Dreams - Prologue Part 1

In this section, secondary characters face danger.

Crossroads of Twilight focused on the weighty choices each character had to make. The opening sequences of Knife of Dreams keep that theme, but also go further to reveal the dangers and risks faced as a result of the choices made by each character.

Galad faces his commander in single combat because Morgase deserved justice. Ituralde raids the Seanchan after recruiting disparate forces to his side in the last book. Suroth hardly hesitates to seek Tuon’s death after a tortuous search for her turned up nothing. Pevara is hand picked to seek alliance with the Asha’man after recognizing the need for the Red Ajah to bond them. Pevara also learns that Elaida can offer no protection in the Black Ajah hunt she has undertaken. In each case, the character has previously or just now committed to a course of action, and faces real danger as a result.

The first point of view is Galad, followed immediately by Ituralde, and both contain a battle scene. The utter lack of physical conflict in Crossroads of Twilight is abruptly brought to an end, and these sections signal a welcome change in the pacing. The prologue serves as an advertisement for the book to follow, and the choice of action scenes to start the book off is meant to reassure readers that the slow part is in the past.

I will examine Galad’s point of view sequence in detail, to once again examine Robert Jordan’s technique when describing battle.

From the very beginning, descriptions match Galad’s mood and intent. He walks down a straight road, his shadow stretches ahead symbolizing that his actions may have far-reaching effects, he spares no thought for the nearby Lost Mines of Aelgar which symbolizes his unwillingness to be distracted. Every detail of the location was built around Galad’s mission, and was not created that way for any other reason. Building this part of the world around Galad, as opposed to creating it before knowing when it would show up in the story, if at all, saves time and effort, and gives immediacy to the description that might otherwise be hard to achieve. Similarly, the description of Valda’s manor house represents Valda himself, neatly summarized in the line: “An image of normality where nothing was normal”.

As Galad enters the grounds, his opponents are fleshed out: Asunawa can only be called to account by the Lord Captain Commander, a man who demands obedience. Valda dresses richly, wearing a ring outside his gauntlet to symbolize the even greater force that demands his obedience. These relationships and symbols demonstrate how their approval matters to a soldier such as Galad.

Valda disapproves of Galad’s appearance, as he dismounts, which is contrasted with the obsequious actions of the grooms who take his steed. Valda tries to assert his own independence from the Seanchan through small actions, yet brooks no such behaviour from his own men.

Trom brings his own odd actions under the umbrella of correct actions, by telling Valda he is carrying out his duty under the law. This is underscored by his bow to Valda, which is precisely as deep as required by protocol.

Asunawa, worried about appearances before their new Seanchan masters, tries to take control of the situation but is rebuffed by Valda. Valda invokes the law and the Light, adding a new top level to the hierarchy of relationships introduced earlier. He sets the rules and judgment, intending for himself to be seen as occupying that topmost level, synonymous with the Light and uncontestable.

Trom acknowledges the conditions set for the Trial beneath the Light, and in so doing associates himself with the law and the Light.

At this point, the reasons for Galad’s challenge and accusation are revealed, his mother suffered at Valda’s hands, indicating an emotional weakness. This personal connection also elicits the reader’s emotional involvement.

Valda has no time to answer the charge before Asunawa tries to circumvent the trial by arresting Galad. Valda would have been willing to respect Asunawa’s actions despite how they undermine his own authority. The Children of the Light ringing the courtyard draw swords. They have heard a higher authority be invoked, and they now answer to it, not to Valda nor Asunawa, despite the likelihood that those closest to Valda are his cronyest cronies.

Valda takes credit for his men’s actions, again attempting to place himself at the topmost level of the hierarchy. They drew swords by his will, not their own. He denies the accusation.

Representing the soldiers, Valda’s closest aide, Kashgar, is reluctant to help him. They want to see who is right, under the Light, by the conditions set down in law.

We are reminded of Valda’s skill, by way of his heron-mark blade. Valda flings his own accusations at Galad, reminding everyone of his associations with Aes Sedai. Both of these points undermine confidence in Galad, and the soldiers have doubts now, represented by Dain Bornhald’s sudden worry and shifting of feet.

Byar gives Galad advice, warning about Valda’s favoured techniques and a possible weakness. Galad analyzes what he has been told, and we have renewed confidence in his ability. Galad is surprised and thankful for the help.

Valda tries to take charge, but Trom puts him in his place, taking over the role of arbiter smoothly thanks to the groundwork he laid earlier. Galad worries that if he loses Trom will have made an enemy of Valda, but realizes that he likely already had. Nonetheless, Galad has added the allies he came here with to the people whose lives are at stake in this battle.

Galad sees the Questioners for what they are, even if Bornhald doesn’t. He tells Bornhald to watch them closely, thinking ahead to the end of the Trial.

The ritual beginning to the trial is recited. Valda is arrogant and confident, and tries to anger Galad by humiliating him by insulting his mother.  Through his rank and his rape of Morgase, Valda is in effect a monstrous father figure, a standard villain in fantasy stories.

Galad’s weakness is his emotional reaction to his mother’s fate, but he overcomes it with the Oneness, taught to him by true father figures such as Gareth Bryne and Henre Haslin. Bornhald is alarmed about the anger on Galad’s face, but Byar says not to distract him. With the Oneness, Galad cannot be distracted by himself, and once again a dip in confidence has been restored.

Valda shows off his swordsmanship, and the heron-mark blade he earned when he was younger than Galad is now. Galad reckons his odds are poor, and resolves to take a fatal hit if that is what is required to kill Valda.  

All of this has been prelude, now the battle begins.

Valda acts as Byar said he would: despite two verbal feints and a physical one targeting Galad’s head, Valda’s true target was the thigh. Seeing through the deception, Galad scores an early hit. The sword forms invoke images of the direction the blades move. Plucking the Low Hanging Apple aims at his throat but turns into Leopard’s caress, a grazing attack on his thigh. Galad deflects it with Parting the Silk. The Dove Takes Flight strikes upward but is pushed away by Galad’s circling motion of Kingfisher Circles the Pond. Six other sword forms are named as they dance back and forth, more than enough to make readers believe the battle is going on and on.

Galad quickly fatigues from his wounds and the effort, and knows he must win soon. He uses Valda’s own trick against him, advertising one move while setting up another. He repeatedly tries the same sword form, executing it more slowly than he is able, even allowing himself to take hits to the thigh to enhance the illusion that he has lost his speed. On the fifth try, as Valda’s blade automatically reacts, Galad unleashes his speed, changing the stroke to get past Valda’s sword and cut his belly open.

Valda dies, messily. Galad is fatigued and hurt, and realizes his vengeance is incomplete; his mother’s return is the only thing that can grant him peace.

The Children of the Light clap in support. They express concern over Galad’s wounds, while Valda lies forgotten on the ground.

Galad expresses concern for all the Children of the Light: those whom Asunawa may target and those held captive by the Seanchan. By stating so openly, Galad takes on the rank of Lord Captain Commander and the role of the Light itself; all men are his concern. The Children of the Light will march to the Last Battle, allied with whoever opposes the Dark One and the Seanchan. Marching to offer the same to the other Children of the Light in Nassad, despite the possible danger if they refuse, Galad presses on. “He had to go. It was the right thing to do.”

Robert Jordan used the prelude to the battle to yank emotion and expectations up and down several times before the physical conflict began. The outcome of the battle affects more than just the characters directly involved, but in their case it affects their identity. Galad’s journey is a micro-version of Rand’s own expected journey. Galad is shown as having done things right, giving an example for Rand to either follow or ignore.

Writing Lessons:

The prelude to a battle is the place to establish the stakes, relationships, and emotional ups and downs that will give the battle its intensity.

Crossroads of Twilight - Prologue part 2 to Chapter 1

In this section, old and new characters converge in Cairhien, and Mat resumes his slow escape from the Seanchan.

Samitsu has been running the Sun Palace in Cairhien since Cadsuane’s departure. She helped heal Rand after Fain scratched him with his ruby dagger, and she is considered the most skilled healer in the White Tower. However the emergence of Sashalle from her time as a Wise One apprentice derails Samitsu’s control.  Sashalle is ranked higher due to her strength in the Power, strength that has been re-established by her healing from stilling by one of the Asha’man. The two of them clash over who will take control of a handful of situations, from rebels, to Loial’s return, to Dobraine’s attempted assassination, to Logain’s appearance at the Sun Palace. 

Jordan uses a rapid series of unrelated events happening at the same time frequently, usually as a means of cramming as many conversations between characters in the same locale into as short a text as possible. Over these fifteen pages, Ailil, Loial, Dobraine, Sashalle, and Logain are handled, as well as even smaller tidbits passed quickly over so the reader can get a sense of what has happened in Cairhien since Cadsuane was last there. In this case, as it has been in the past, each interaction is introduced by someone entering the room with important news.

Mat has hidden at Valan Luca’s circus, and is still within sight of Ebou Dar nearly a week after he set the Windfinders free and abducted Tuon. He is trying to tally the losses to the Sea Folk as they made their escape to sea, measuring the cost of the choice he made to free them. Mat is surprised the Seanchan aren’t tearing the countryside apart looking for their missing heiress. There is also significant mention of the fact that the Seanchan are here to stay. There are too few ships to take them anywhere else, and the steady disgorgement of settlers means they will soon be setting down roots throughout the land. The entire Seanchan invasion may be a sort of metaphor about how one cannot be rid of the worst part of themselves. Later discussions of a truce being needed in order to concentrate on fighting the Last Battle seem to bear out this idea.

Noal is fishing near Mat, and a few clues are meant to have the reader question what they know about the gnarled old man. Astute minds may recall an old man in Graendal’s palace and note Noal’s foggy memory. Others may have noticed a family name shared between Noal and another notable figure. Whether or not they do, does it matter that he’s seen dark-skinned people with blue eyes before? By drawing attention to this mystery, the author is hinting that the reader should spend some time thinking about this. I still don’t know what it means, which is frustrating because if readers are going to spend time thinking about it at the author’s direction, they expect an answer at some point.

Writing Lessons:

If you draw attention to something, you are expected to make it worth the reader’s time.

Crossroads of Twilight - Prologue part 1

In this section, a host of secondary characters are introduced.

Prologues are usually intended to give the reader information that can’t otherwise be shown in the story. When information is given in a prologue, it creates the expectation that the information will be of some necessity in building mood, explaining events, or driving the plot forward. In this case it only works if we consider Crossroads of Twilight as the first part of a larger book which includes the following volume or two. It might be best to think of it that way since this prologue spans eighty pages, almost one eighth of the entire book. At that point, the only reason to call it prologue instead of chapters is in order to lump various shorter bits together and pretend that the story actually only starts when the central characters are presented in Chapter one.

The first part of the prologue covers General Ituralde in Arad Doman, Eamon Valda leading the Children of the Light, Gabrelle at the Black Tower, Yukiri in the White Tower, Gawyn outside Tar Valon, and General Davram Bashere near Caemlyn. Four of these are battle leaders, indicating that war preparations are beginning. Four of these are completely new perspectives, though the sections previously granted to Gawyn or Valda were short, and parts of prologues themselves.

Ituralde has been mentioned by name before, but has never been seen on-page. His behaviour is consistent with Cadsuane’s, in that he seems to have been already anointed by the Light. He carries the favour of the disparate factions, and the only rules he follows are those ingrained by his morals. In comparison, Valda contemplates murder of his peers. Gawyn merely contemplates betraying his fellows, and he will act as a proxy for Rand for the next few books, looking down two divergent roads and deciding which to follow.

Gabrelle and Yukiri fail to attract any interest aside from the circumstances in their respective locales. Gabrelle’s seduction of Logain overshadows all other aspects of her personality, which is completely typical of her Ajah. As previously discussed, the Black Ajah hunters are more identifiable by their quest than by their individual personalities. As a result, each of them is interchangeable with the others, all the more so when Yukiri has a bland personality that fails to elevate her to the status of her co-conspirators Seaine and Pevara.

The mystery of the too-young Sitters is reintroduced here, and more discussion will follow in later chapters. We’ll check in to see if it warrants the attention.

In Bashere’s section, the attempted theft of the Seals on the Dark One’s Prison provides the first direct menace. All the other threats have been veiled and insinuated, none have been directly shown.

Let’s examine how the author handles the introduction of new characters, with a closer look at Ituralde’s first appearance.

Bashere is introduced as a seasoned soldier; the first two paragraphs give examples.

Jaalam is introduced in paragraph three, and his close relationship to Ituralde is demonstrated in the next two paragraphs.

The next two pages describe King Alsalam, an old friend whose erratic behaviour brought Ituralde to concoct his mad plan. Four other Lords and Ladies are named, who unswervingly obeyed the King’s orders, never to be seen again.

The next page introduces Donjel, a scout with severe facial injuries. He is trusted with carrying a packet to Ituralde’s wife should he die.

Jaalam is called to follow to Lady Osana’s hunting lodge. She too will never be heard from again. Jaalam opens doors and takes the lead to offer Ituralde some small protection as they enter the lodge.

They are met by Lord Shimron, once a trusted advisor to the King, now Dragonsworn. Shimron and Jaalam trade bows, honoring each other.

Three domain lords are named: Rajabi, Wakeda and Ankaer. The Dragonsworn have Shimron, and the Taraboners have no named leader.

Wakeda expresses doubt, taunting Ituralde. They trade verbal jabs as they discuss the Seanchan invasion.

Shimron acts as peacemaker, turning the talk to the Aiel on Almoth Plain. Ituralde points out that the Aiel have slowed the Seanchan, but can’t stop them. He reveals his latest orders from the King. He offers a truce in the King’s name to the assembled battle leaders. Now the earlier focus on the relationship between Ituralde and King is justified. All of these relationships and the choice to face the Seanchan depend on trust, which is why all the characters shown have had some element of their trustworthiness described.

Rajabi and Wakeda get one-line physical reactions. Shimron asks whether the Seanchan can be defeated, effectively deferring to Ituralde’s wisdom.

Ituralde answers yes, and Shimron, Rajabi and Wakeda agree to follow him. Their responses are given in order from he with the closest links to Ituralde to the most hostile.

The nameless Taraboners express doubt, and Ituralde offers to lead them himself. Wakeda wails at this aspect of the plan, still acting as the most vocal doubter of the group. But having already given his word, there is nothing to be done, and the Taraboner leader accepts Ituralde’s offer to put his own skin on the line.

In summary, a handful of named characters are used to establish the role of trust in relationships in this part of the world. Jaalam and Donjel offer direct examples, and the description of the other Domani’s dedication to follow orders reinforces them. Three named Lords are presented to show a range of attitudes towards Ituralde, and the domino-like fashion in which they fall into line precedes the Taraboner reaction, which represents the attitude of the everyman.

Writing Lessons:

Use a variety of characters in short speaking roles or shorter non-speaking roles to portray behaviours that will give believability to the situation.

The Path of Daggers - Prologue to Chapter 1

In this section, sinister forces move in the background

The prologue shows scenes from the point of view of three characters. It is unclear what each of the situations means in the prologue, since no clear threat is presented in two of the three sections, and even the third is vague. The vagueness of the threat is the point being made; the heroes have no idea where the threat is coming from or what it consists of.

The first section, from the point of view of Ethenielle, Queen of Kandor, comes out of nowhere. A rumour of missing rulers from earlier is proven true, and they are joining forces to march south and do something with Rand. They commit to each other, a blood oath that none will break. We see the strength of their resolve and their dedication to this cause; they were willing to kill to avoid detection. What they intend to do when they meet Rand is untold, but they will not shirk in the slightest from doing it. The reader may have slight worries, after all these are Borderland rulers who have spent their entire lives fighting the Shadow. They can’t mean Rand any harm. Unfortunately they have acquired thirteen Aes Sedai in their travels, whose motives remain unknown.

The second section picks up on the vague threat posed by the Aes Sedai and shows Verin questioning Elaida’s Aes Sedai. Verin has gone to great lengths to convince her handlers Sorilea and Amys that she can bring value to Rand by learning what Elaida had planned with regards to Rand. She has been given slight trust and she works hard to keep it. We are shown that personal discomfort and distaste for the actions she must take are no deterrent to Verin. She gives Sorilea everything she asks for and is meekly compliant. She will do what must be done and seems to have accepted that she must serve Rand as she swore to. She expresses disgust that Katerine was allowed to escape, which was made possible by forces that infiltrated the camp. And just when it seems like she has proven her trustworthiness, Verin reveals a forbidden weave and Compels an Aes Sedai to do… something. Verin’s motives become suspect. Why is she compelling the Aes Sedai and for what purpose? Why is she so quick to consider killing other Aes Sedai? How should the reader interpret her desire to keep Rand alive until it is time for him to die?

The third section reveals Moridin gloating that in the struggle to control Rand, he is manipulating both sides so that Rand will ultimately do as Moridin wishes. A metaphor is presented suggesting that those closest to Rand, holding the Fisher, will drive him to where Moridin needs him. The implication is that Rand’s allies may mishandle him, but even if they don’t then Moridin’s agents will act to destabilize him. There is no mention of a link between him and Rand.

The three sections moved from the vaguest threat to the most specific, but none of them do more than menace.

In Ebou Dar, Nynaeve still has the ability to sense imminent metaphorical storms. Her demeanor recently improved, she reaches out to help Teslyn and is soundly rejected.   Aviendha fears she is growing into a soft-hearted wetlander despite that her immediate solution to every problem is to kill someone. Aviendha exhibits the uncanny ability to know when an enemy is watching her. She catches the gholam in her sights, but she may also have detected Moridin despite his special skulker outfit. Aviendha reveals that rank amongst the Aiel stems from honour, the first outright statement on the subject. She has a plan for her future involving Rand and Elayne. Elayne asserted her position among the Aes Sedai recently, which has the consequence of cementing the Bargain she made with the Sea Folk even further. No one can countermand the Bargain she made.

Let’s examine a few short descriptors the author uses when other words might have done as well and see what was accomplished with their use:

snagged at her eye: You might often see something pull your eye, or catch it. ‘Snag’ is a more visceral word. It is used to describe how the riches of the Wetlands attract Aviendha with a violence that she is usually the one to dispense. It is used in the 3^rd paragraph of her first appearance, setting the dilemma she faces.  

eye-wrenching cloak of a Warder: ‘eye-wrenching’ is a compact way of describing the cloaks readers have become familiar with.

Elayne could have made a roofmistress seem a goatherd: It is impossible to maintain dignity when goats are involved. The word ‘goatherd’ imparts an activity that is easily visualized: chasing after stubborn animals.

most with annoyance ill-concealed behind cool serenity: ‘ill-concealed’ could have been replaced with the synonym ‘visible’. Instead this compound word allows two words with negative connotation to be assigned to the Aes Sedai, helping set the mood and the relationship.

willowy, doe-eyed Chilares:  ‘doe-eyed’ describes not just her eyes but implies she is docile. Any number of eye adjectives could make her intelligent as in ‘bright-eyed’, crafty as in ‘keen-eyed’, useless as in ‘cow-eyed’. The reason she is doe-eyed is to describe the Kin’s general behaviour, not because the author preferred to describe her eyes over her hair, or had previously decided in his notes that Chilares was to be described that way.

Writing Lessons:

Use that thesaurus to find synonyms that convey mood, character, setting or action, or just cobble together your own with compound words.

A Crown of Swords - Prologue

In this section, secondary characters with minimal involvement in the book set the tone and theme

Why have a prologue in a novel? In the early books, the prologues served to show the villain and establish the stakes, since there was no convenient place to do this from the perspective of the heroes. They also showed events that took place earlier than the story’s beginning, so that the effects of those events could initiate the story proper. In the most recent books, the prologues expanded in scope, catching the reader up on a multitude of details and establishing some of the thematic elements.

In A Crown of Swords, there are six perspectives: five villains, and one who hasn’t committed yet. Each of the sections takes place in the day since Rand escaped from his captivity at the end of Lord of Chaos. The ones in Tar Valon and Amadicia did not need to be set on that day, but Sevanna’s and Gawyn’s did. The best reason to set those events on the same day, and cram them into the same prologue, is simply to lessen the number of interludes in the main story. As in earlier books, the author uses the technique of showing several scenarios which are linked thematically.

Elaida is portrayed as a stubborn, entitled and myopic woman with no people skills, but she does have power, both from being Amyrlin and from the Talent of Foretelling.  She finds her Keeper of the Chronicles Alviarin to be difficult and insubordinate. Alviarin is biding her time, waiting for the orders that will place her second only to the Forsaken. She is competent, intelligent, and ruthless. With Alviarin and Mesaana pulling strings, and their new ability to weave Gateways, Elaida has little hope of getting her way.

Pedron Niall is portrayed as cautious, thorough and subtle, with a nearly perfect record of victory. Niall has finally discovered the Seanchan threat near his doorstep, but he is struck down before he can do anything about them. The mastermind behind the assassination is Valda, a competent, strong, and ruthless man.  

Sevanna is portrayed as overbearing, greedy, and selfish. Although she corralled her Wise Ones into battle against all custom, they and the Shaido warriors turn and flee before the Asha’man. Sevanna is angered by their weakness but is already making plans to capture Rand. She still has a cube given to her by Sammael, an apparent reversal of her and the author’s decision to throw it away at the end of Lord of Chaos.

Gawyn is an underling who has gotten underfoot enough to trouble Elaida. He has avoided attempts to put him in harm’s way and now has some decisions to make. His situation is meant to be contrasted with the other underlings in the prologue. Will he strike down those he serves as Valda did? Let himself be led around like the Shaido Wise Ones? Serve obediently as Alviarin does? His rationalization that he doesn’t have to help Rand just because he promised not to hurt him places him in balance between good and evil. He represents the everyman, having to choose a course of action that will topple whoever he stands against.

We’ll see how much insubordination and pivotal choices turn up as thematic elements in the rest of A Crown of Swords.

Writing Lessons:

Place scenes outside of the main action together in a chapter to lessen the drag on the main storyline.

The Dragon Reborn - Prologue to Chapter 4

In this introductory section, the story is no longer about Rand, but Perrin!

The prologue, as in the previous novel, provides some quick background essentials: how male channelers go mad, why no one wants the Dragon to be Reborn, the Three Oaths that Aes Sedai vow, and frames the battle against the Dark One. The prologue also ties off some loose threads from the last book: Fain fled to Amadicia, the Seanchan were repelled, and the Darkfriend Jaichim Carridin remains well placed, ready to use his station to advance the Dark One’s plans. With all that out of the way, there is even room to squeeze in the plots for this book: Carridin’s orders have suddenly changed from using Rand to killing Rand. The Whitecloaks mean to leave Rand alone, for now, but under Fain’s influence, they may investigate this Darkfriend-filled Two Rivers district. All the bases have been covered in this short passage.

The most important new element out of those was the sudden desire to kill Rand. This is out of character for Ba’alzamon and Lanfear, but we already knew that the Forsaken work against each other as much as with, so perhaps a new Forsaken is involved. Remembering that Ba’alzamon represented doubt, and Lanfear desire, let’s watch for similar characteristics that could be attributed to a new villain.

Immediately, the feel of this novel is different than the previous two. The initial mystery introduced is not ‘who is the black rider?’ or ‘what does the Amyrlin want?’, it is ‘when will we move on from this valley?’. This is not as keenly intriguing as in the previous novels. It is the first appearance of an infamous style that Robert Jordan used abundantly in later books, it is dragging out the revelation of simple details. Why is it used here?

Firstly, this entire first section is told from Perrin’s point of view, the longest sequence to date devoted to a single character’s point of view other than Rand, indicating his importance to the story. As part of making Perrin’s point of view unique, the text is an expression of Perrin’s attitude towards life, move slowly, carefully, and thoughtfully. Perrin himself can’t get right to the point, so chapters from his point of view will show more consideration of details, and feel more drawn out than chapters told from other characters’ point of view. If this wasn’t as obvious in earlier Perrin chapters in the other books, it is probably because there were but one or two chapters at a time, and enough new material was being introduced to overrun this effect. Part of the problem here is that there is no new significant information being presented. Knowing reader perceptions of much later books, I’ll keep an eye on whether this slowness shows up more frequently in Perrin’s point of view than elsewhere.

Another way to show Perrin’s different way of seeing the world is the number of blacksmith references. Descriptions of faces or objects are as comparisons to his experiences at Master Luhhan’s forge. Oddly, Rand never made so many shepherd and tabac references. Perhaps Rand is simply more imaginative and eager for the future, such that his frame of reference extends beyond what he did as a young man. Nynaeve’s cultural references were consistent with her experience, and were used frequently, Egwene’s much less so. Every character, even Perrin, felt like a man or woman of action in earlier books, but now he stands out as slow-moving by association with the idea being expressed in these chapters. Chapter 1 is even called ‘Waiting’.

The famous Wind that rose in the Mountains of Mist does more than describe the setting, the language describing it sets up the mood of ‘Waiting’ before any character is even introduced. Here is some sample language:  Down long valleys, hanging in the air, soon spring up, forgotten, snow that never melted, clouds clung to the mountaintops, snow and white billows seemed one, it held awhile, clung, not yet quickened. A variety of subjects have been described, none of them human, but altogether the reader is primed to think of being stuck in place and impatience to move.

Other characters are reintroduced, with their motivations. Loial who wants to write a book on ta’veren. Min who is reluctantly in love with Rand. Uno who bloody well fights goat-kissing Trollocs. Masema who is overeager to serve Rand. Several plotlines relating to Perrin are begun or touched on here: his association with Tuatha’an, his Wolfbrother abilities, dreams. As the central character, Rand scarcely appears. There is little point, his concerns are the same as Perrin’s to a large extent, and no one has the answers to his most pressing dilemma, how to control the One Power. Switching to Perrin’s Point of View instead of Rand’s has no downsides. Staying out of Moiraine’s point of view, but reminding readers of her inviolable objectives, keeps them suspicious of her.

In the dreams, Perrin gains more insight into the Forsaken than anyone else has. His Wolfbrother dreaming ability lets him enter the World of Dreams despite any protective effects from Moiraine’s presence. First Ba’alzamon, then Lanfear each pays him a visit and tries to get him to drink from their cup. They are still intent on using the Two Rivers boys, and have passed up easy opportunities to kill Perrin here. Interestingly, Perrin tries to assert his identity in a realm where force of will creates reality. Lanfear is eager to help Perrin, and brings him or lets him follow to the chaotic paths of the World of Dreams, where he sees Ba’alzamon meet with Be’lal in puffy sleeves and another Forsaken. They argue and vanish in a fireball. One of them is sending the Soulless after Rand. One of them is behind the Myrddraal that visited Carridin. One of them is not playing Ba’alzamon’s way, and is trying to kill Rand. And they just sent the Twisted Ones at the camp! Waiting is over.

Writing Lessons:

Changing point of view also allows you to change the voice, style, and pacing of your writing. It’s a new person with a whole new world view.