Towers of Midnight - Chapters 29-32

In this section, the Heroes perfect their abilities.

In the early books of the series, the heroes discovered new and unusual abilities, which they subsequently used and improved upon over the rest of the series, and now they have reached a point where they are perfecting those abilities.

Perrin is being trained to use the Wolf Dream and resist its many pitfalls. Rand can singlehandedly destroy vast armies of Shadowspawn and the sight of him wielding the One Power caused Darkfriends to go mad, which isn’t a specific ability, but seems associated with his recent change of heart. Rand is also visible to Perrin in Tel’aran’rhiod, which should not be possible for a waking being. If this isn’t a vision of the window-type he used long ago, or a Dream prophecy of the kind that Egwene regularly has, then it implies that Rand is somehow in both worlds at once. This is plausible, given that Rand’s ability to change the health of the apple orchard seemed to alter reality in much the same way that one can alter reality in Tel’aran’rhiod. The True Power works in a similar fashion, allowing the user to reshape the Pattern in small ways.

My earlier theory titled The Bore is in Tel’aran’rhiod touched on this, one of its conclusions being that the Last Battle would focus on a battle of wills in Tel’aran’rhiod, with the outcome shaping reality. I further expect Tel’aran’rhiod and the waking world will become more entwined, and the ability to shape reality by thought will be made available to more people, fulfilling some of the metaphorical examples where characters have accepted or resisted their fates, shaping their own realities.   

Rand tired himself out destroying the Shadowspawn army, and tells his followers that future fighting is up to them, he will be facing the Dark One himself. This has a nifty effect on the reader. There is awe that Rand can singlehandedly do what he did, followed by concern that Rand’s battle will be even greater, while the generals will be facing a foe which can overpower them.  The scale and scope of the Last Battle are thus made known, to gleeful anticipation.

The order in which events are presented here is organized to maximize uncertainty, with Berelain and Faile worried about the outcome of Perrin’s trial, with Faile feeling betrayed by Morgase who she considers the highest ranking noble anywhere, with Galad being told that doing what is just and lawful isn’t always right, with weapons rising up to attack their owners, with Tam leaving Perrin’s side, which finally resolves the timeline lag in Perrin’s locale even as it continues to confuse readers, and finally with Elayne and Birgitte feeling queasy over the change which Aludra’s cannons will bring to the world.

All that leads up to Rand on Dragonmount, which Perrin sees as a cloud of evil seeping out of Rand, which he overcomes. The reader already knows what happens next in Rand’s timeline, but the next few chapters give truth to the wolves’ call that the decision has been made, and the Last Battle is coming.

Immediately upon that call to battle, Mat dispenses with the Gholam, then Rand easily slaughters the Shadowspawn hordes in Maradon.

I am missing something about the importance of the cannons. Birgitte’s reaction is overblown, even knowing about the various Dreams and Viewings about their invention. How can cannons change the world so much, when channelers should as easily be able to defend against cannon fire as a streak of lightning or rolling wave of earth and fire? It must simply be that the ability to kill as easily as a channeler will now be in every man’s hands, another metaphor for the ability to assert one’s reality, to resist the place one is given by the existing hierarchy.

Rand’s battle in Maradon is short and to the point, effectively demonstrating that mere Shadowspawn no longer threaten him in any way. The author uses strong visual imagery to portray Rand’s victory, with short summary phrases punctuating the battle, telling the reader what is happening from a more authoritative omniscient narrator’s voice, even though it is Ituralde’s viewpoint. Here’s a closer look:

Rand apologizes, salutes Ituralde’s troops, applauds their efforts, acknowledges their losses, and decides that the Dark One wants to break men’s spirits by forcing them to abandon the city. He refuses to allow that to happen, echoing Ituralde’s earlier recriminations about fleeing the city.

Outside the city, Rand raises a hand towards the Shadowspawn, And they started to die.

This sentence summarizes the entire battle. A few detailed events are described, then,

Light and Power exploded from the Dragon Reborn. He was like an entire army of channelers. Thousands of Shadowspawn died.

The first two sentences aren’t entirely within Ituralde’s ability to know. He could feasibly imagine Light and Power exploding from Rand, or what an army of channelers could do based on his experience with a few channelers. A few detailed events are described, then,

I’ve never seen so many weaves at once. I can’t track them all. He’s a storm. A storm of Light and streams of Power!

Using the Asha’man’s ability to describe what he is seeing is far more convincing than when Ituralde did the same moments earlier. His closing statement veers towards the omniscient narrator again. A few detailed events are described, then,

The man himself seemed to be glowing…Al’Thor seemed brighter than them all.

With the destruction and hyperbole running thick, the word seemed is inappropriate, yet is used twice. At this point, committing to the observation of his radiance is appropriate. This is the sort of weasel words that caused me to stumble over Sanderson’s early Wheel of Time chapters, although I later attributed them to Siuan’s point of view. Using them makes descriptions weaker although they sometimes add a sense of mystery or wonder. For example, throughout this blog, I consciously tried to avoid them, and simply call things as I see them, without hedging my bets with careful wording. A few detailed events are described, then

It was a masterwork. A terrible, destructive, wonderful, masterwork.

Ituralde is no craftsman, no collector of fine art, nothing more than a general and soldier so far as we know. What would he consider a masterwork? A complete rout of enemy forces? Is masterwork the most appropriate word he could have used? Once again, the narrator briefly slides in. A few detailed events are described, then

Al’Thor closed his hand into a fist, and it all ended.

The author likes these dramatic short sentences.

Writing Lessons:

Be conscious of slipping out of your narrative voice, even briefly, for it changes the context and feel of the story.

The Gathering Storm - Chapters 28-30

In this section, the Heroes get a taste of the wrong choice.

Mat is in Hinderstap when the sun goes down, and the villagers turn insane as soon as the last of the light slips behind the mountains. This is yet another of the series’ metaphors that cut across the various storylines, as Mat experiences a village outside the Light, representative of Rand’s moral trajectory. With no guiding set of morals, the inhabitants turn on one another quickly and savagely. There are a few subtle, and a few direct hints of this in the text: The village was dark. Not a light burned, or there didn’t seem to be an ounce of humanity left in them, or Thom’s analysis:  It’s as if the darkness itself intoxicates them, as if the Light itself has forsaken them, leaving then only to the Shadow. Even Mat and his followers are dragged down to that level because the danger and the darkness limit their ability to act as morally as they should with unarmed villagers.

This bubble of evil, like several others before, not only do nasty impossible things but also symbolize current events on the book, particularly with respect to Rand’s character. Were all the bubbles of evil veiled symbols of Rand’s mood? If so, the author managed to hide the fact well with subtlety. Recent bubbles of evil are easier to match to Rand’s mood. The bubbles of evil also began only after Rand took Callandor. Is holding Callandor what makes the Dragon one with the land? Did the bubbles of evil start off somewhat gentle and get nastier as Rand’s mood got darker and darker?  If these are attuned to Rand, and not the Dark One, what does that mean? I’m leaning towards an eventual revelation that the Dark One can’t simply be killed or sealed away, he is now part of Rand, or always was metaphorically.

Continuing the metaphor of the Light-forsaken, Arad Doman‘s capital city is as hopeless a place as has been shown. No food, no medicine, no order, no hope. It is a second, larger example of a city outside the Light, once again representing Rand’s mental state. Rand sees no one who stands out amongst a people noted for standing out. No one is special. Two balconies collapse at the same time, a ta’veren twist or a bubble of evil, or a result of using the Dark One’s own power? Rand ponders this without offering succour to the wounded. Every person near Rand is suspicious. Merise must be plotting with Cadsuane, Dobraine is Cairhienin, Min must be remembering what he did to her. No one is special enough to elicit emotion from the Dragon Reborn.

Rand recognizes Lanfear may yet live. He resolves to use balefire on her, Graendal, or any Forsaken, still unknowing that the Dark One benefits each time he uses it.

Gawyn can’t get help from the Aes Sedai to rescue Egwene, but is still desperate to do so. Gareth Bryne questions him closely, and the questions are the same ones Rand should be asking himself. The author often shows older mentor characters as already having all the right answers and trying to guide the younger heroes along the right path. What if Egwene doesn’t want help? Will he force her to go? Will he become a bully and a footpad, remarkable only because of his ability to kill or punish those who disagree with him? Gawyn’s journey lags Rand’s, for Gawyn has yet to commit to a path while Rand strides headstrong down the path he has chosen, the path everyone tells him is the wrong one.

Let’s see how a description of Mat’s battle differs from Gawyn’s in the last section:

Chapter 28, Night in Hinderstap begins with the battle already underway, even though the previous chapter was from Mat’s perspective as well. This helps sell the idea that everything changed as though with the flip of a switch. Three attackers are quickly dispatched, then the mood is set with several paragraphs describing screams and yells, primal tactics, and manic violence. Wounded men in the street are finished off by more roving maniacal villagers. The reader now understands the context, and had to do so in the same way Mat did, hurriedly and only after dealing with the immediate problem.  

They see Mat. Mat curses and orders them to mount. There is a loss of control as Mat cannot keep from killing despite his best efforts. The danger and the darkness make it inevitable.

A brief respite as the remaining groups turn on each other. The mayor sees Mat but attacks two other men from behind instead. Mat orders a retreat. The villagers pursue on all fours, like animals.

The difficult battle conditions are described yet again, but no strategy is announced. The effect is one of concern. Mat hasn’t the abilities, the men, the power or the strategy to get out of this situation. Even his eventual decision is instinctive: find Thom and the women, protect them.

On the main street, conditions are worse. Mat charges in headlong. One of his men falls, and Mat goes back for him despite Talmanes’ protests. The strategy is one of necessity, other strategies he could have used such as trampling the attackers are unusable in the darkness. This once more adds to the feeling of loss of control. Traditional tactics are useless since he cannot anticipate the blind stupidity of his attackers. There are no sword-forms, no depictions of graceful mastery, it is all simple, instinctual, desperate moves.

Delarn acts as a man should, distinguishing himself from the mass of shadows, allowing Mat to fight to reach his side. Mat gets Delarn onto his horse, but remains under continual attack. Highlighting the desperation, the sentences become quick and clipped: They just kept coming! Surrounding him! Coming at him from every side. Bloody Ashes!

Thom rides in to save Mat, and Talmanes comes as well, and they all ride towards the Aes Sedai.

The language throughout the battle is heavy on audible sounds instead of sights, treats the foes as indistinguishable and interchangeable creatures, and never gives Mat a chance to think or plan. As a result, it is quite different from any other battle in the series.

 Writing Lessons:

Make scenes original instead of generic by highlighting a few aspects of them differently than expected.

Knife of Dreams - Chapters 31-34

In this section, Elayne turns a sour experience into crushing victory!

A professional purse snatcher does what no one else has been able to so far, following Mellar to the Lady Shiaine’s home. Giddy at the prospect of capturing a circle of Darkfriends, two Black Ajah, and giving the boot to Mellar, Elayne hastily assembles the Aes Sedai and Warders to raid the manor before they disperse. Mellar’s treachery is strongly downplayed; his arrest is but a footnote.

Elayne cleverly gets the two Aes Sedai she is unsure of in linked pairs, so they cannot channel to disrupt her plan. The raid goes perfectly, until the unforeseen arrival of four other Black Ajah, seemingly still bent on capturing Elayne as Moghedien ordered so long ago. Shiaine is grateful for the rescue, but is quickly put in her place; these women have their own agenda which has nothing to do with Moridin’s or Shiaine’s. This is not the first time that one evil plot has been undone by another concurrent evil plot, where the villains do not share information or objectives.

Careane is unveiled as Black Ajah, and is stabbed by Vandene. Careane’s treachery is strongly downplayed; her death is also but a footnote, since the immediate menace is the six Black Ajah who will have no trouble killing the remaining Warders and carrying Elayne off. Fortunately, none of them know Traveling. Maintaining control over who can Travel is important for several plotlines, and devising ways to keep it secret from the general population of channelers and Mat’s group, while simultaneously allowing other heroes to make liberal use of it must have required intricate planning on the author’s part. Be careful of the tools you give your heroes, because they may make life too easy for them.

Birgitte responds correctly to Elayne’s capture and the death of the Warders. She goes for the only help capable of stopping channelers: other channelers. Birgitte appeals to the Sea Folk’s sense of self-interest, and the Black Ajah are captured and Elayne freed. In minutes, they had destroyed several hundred soldiers, providing yet another example of the escalation of the battles and their outcomes. Obviously, the Last Battle will involve large numbers of channelers, and the value of soldiers will be much less than in traditional warfare.

Birgitte had been forced to give away a number of soldiers to Dyelin to defend the city gates, which made a big difference in the city’s defense, but little difference in Elayne’s rescue which depended on the One Power. With the city under attack from one of Elayne’s rivals for the throne, she Travels into position and catches them between the city walls and her army. It is enough to win, yet the thin margin of victory could have gone the other way several times.

Elsewhere, Karede divines Mat’s plan, and moves to intercept him, setting up another tense conflict where small chance-driven events may make the difference between victory and defeat.

Robert Jordan has a particular way with his sentence structure, often crafting lengthy sentences filled with descriptions, information, the character’s personal views, symbolism, and inference. Since I’m nearing the end of the books he wrote himself, it’s long past time to study these more closely.

Just  two of the mirrored stand-lamps were lit, six flames filling the sitting room with a dim light and the scent of lilies – so much of the lamp oil had gone bad that it was always perfumed, now – but a crackling fire on the hearth was beginning to take away some of the early hour’s coolness.

In this sentence, the room’s temperature, odour, and lighting are described, establishing a mood. There are links to other ideas and plotlines: the Dark One’s touch, Elayne working at early hours of the morning, insufficient supplies to meet needs. Elayne’s situation is symbolized, she can hardly shed light on the solution to her problems, but another source will give her what she needs. So many things conveyed with just one sentence.

Gliding to one of the carved sideboards, she wrinkled her nose at the silver pitcher holding goat’s milk and poured herself a cup of dark wine before taking a chair across from Elayne.

In this sentence, the first part might have been dropped but leave the entire meaning intact. Instead of breaking the sentence into smaller parts, Jordan links them together as a complete sequence of related events. He does it again with the next sentence:

Deni made a move as if to try dragging her out, but Elayne shook her head.

In this case, an action is begun, another is contemplated, and then both are negated. Three actions in one short sentence.

The gag, a dirty piece of rag with a vile, oily taste, tied so tightly that it dug into the corners of her mouth, had been meant to keep her from shouting for help at the gates.

This is not simply a description of her gag, but has added links to explain her captor’s attitude (tightness of gag), and the reason why she has a gag in her mouth, which will lead to an explanation of Elayne’s own strategy.

At last, however, even the most diehard began shedding weapons and armor, and if not every voice cried for quarter, the roar was still thunderous.

Here, large scale events are summarized with a quick series of events. The words ‘at last’ convey Elayne’s hopes as well as the finality of the situation. Using words like ‘roar’, ‘thunderous’, and ‘every’ conveys the large scale of their surrender. Describing the actions of many through the actions of few, either by making them representative, or extraordinary, allows the entire scene to be condensed.

Writing Lessons:

Give longer descriptive passages more weight and interest by linking the ideas and actions within them.

Crossroads of Twilight - Epilogue

The epilogue offers a rare opportunity to do a very detailed analysis of almost every word. My old friend Scartoe says that every word a writer chooses serves a purpose. Why is each word there? Why this word and not that one? The epilogue is 267 words long. First, read the full passage, then below, the analysis. In terms of action and plot, this is as simple as it gets. Rand is waiting for Bashere. Bashere enters and gives Rand the news he’s been waiting for.

Rand stared out of the window at the steady rain falling out of a gray sky. Another storm down out of the Spine of the World. The Dragonwall. He thought spring must be coming soon. Spring always came, eventually. Earlier here than back home, it should be, though there seemed little sign of it. Lightning forked silver-blue across the sky, and long moments passed before the peal of thunder. Distant lightning. The wounds in his side ached. Light, the herons branded into his palms ached, after all this time.

Sometimes, pain is all that lets you know you’re alive, Lews Therin whispered, but Rand ignored the voice in his head.

The door creaked open behind him, and he looked over his shoulder at the man who came into the sitting room. Bashere was wearing a short, gray silk coat, a rich shimmering coat, and he had the baton of the Marshal-General of Saldaea, an ivory rod tipped with a golden wolf’s head, tucked behind his belt next to his scabbarded sword. His turned-down boots had been waxed until they shone. Rand tried not to let his relief show. They had been gone long enough.

“Well?” he said.

“The Seanchan are amenable,” Bashere replied. “Crazy as loons, but amenable. They require a meeting with you in person, though. The Marshal-General of Saldaea isn’t the Dragon Reborn.”

“With this Lady Suroth?”

Bashere shook his head. “Apparently a member of their royal family has arrived. Suroth wants you to meet someone called the Daughter of the Nine Moons.”

Thunder rolled again for distant lightning.

Short and powerful. Here’s the analysis:

Rand stared out of the window at the steady rain falling out of a gray sky. Another weather-as-mood analogy. Steady rain implies long unhappy times. Staring implies he’s been looking for a while, which makes it a better choice than ‘watching’ or ‘looking’. Another storm down out of the Spine of the World. Saying ‘another storm’ amplifies the rain to a concept of continual rain and bad times. Using ‘down’ adds to the negative mood. The Spine of the World evokes a forlorn place, much better than a storm out of Haddon Mirk, or elsewhere. The Dragonwall. He didn’t have to say Dragonwall at all here. It has a dual meaning here, referring to the walls Rand has erected in his heart. He thought spring must be coming soon. Now Rand is looking for hope, symbolized by spring. “He thought it must be” is a statement that almost guarantees the speaker is wrong. Spring always came, eventually. This sentence starts out as an affirmation, but ends with doubt. The word ‘eventually’ has more impact placed at the end of the sentence, where it can undermine the entire section that precedes it. Earlier here than back home, it should be, though there seemed little sign of it. The words ‘it should be’ again showing that Rand is wrong. This sentence is not necessary given the earlier part of the paragraph, but it introduces the concept of home, with associated feelings of warmth and comfort. The reference to home shows regret on Rand’s part. He wants to get back to a place of comfort and peace. Lightning forked silver-blue across the sky, and long moments passed before the peal of thunder. A sentence with no apparent relevance to the plot. At first glance it only describes the storm further. But the choice of words makes it resonate very closely with the mood being crafted. ‘Forked’ is used to evoke a choice. ‘Long moments’ pass to evoke waiting. ‘Peal’ is close to ‘appeal’.  Distant lightning. If the lightning represents the Light, then it is far, far away from Rand. The wounds in his side ached. The wounds are always a representation of the Shadow and of the evil that comes from fighting the Shadow at all costs. Light, the herons branded into his palms ached, after all this time. Another reference to a long period of unhappiness. His brands never really hurt before; this is about the burden that comes with those Herons. It shows Rand in a state of mind where the pain caused by the Shadow is no greater than the pain caused by the Light.

The first paragraph is thick with mood, showing Rand moping, waiting, faintly hoping. It tells us where the story is happening and a bit about the environment where this scene will take place.

Sometimes, pain is all that lets you know you’re alive, Lews Therin whispered, but Rand ignored the voice in his head. Rand ignores Lews Therin like he would ignore his conscience. Lews Therin doesn’t ‘say’, he only whispers, indicating he is weak or timid. His idea is introduced with the word ‘sometimes’, as though he is scared to commit to an idea that Rand might dismiss. His tortured thought is still striving to find a bright side to the pain, but Rand won’t even allow that mild of a happy thought, which is a good direct example of his mood.

The door creaked open behind him, and he looked over his shoulder at the man who came into the sitting room. No knocks, no calls of “hello”, just a creaking door. Looking over his shoulder is an expression of mistrust. The man’s name isn’t given immediately, to heighten that mistrust. It could be anybody, maybe even an assailant. Bashere was wearing a short, gray silk coat, a rich shimmering coat, and he had the baton of the Marshal-General of Saldaea, an ivory rod tipped with a golden wolf’s head, tucked behind his belt next to his scabbarded sword. Bashere’s accessories convey wealth and power. His formal rank is given to remind the reader how powerful he is, which will be relevant soon. His coat shimmers, his rod is ivory and gold, all of which convey brightness and light. His sword and rod represent power, which is tucked away but ready at hand.  His turned-down boots had been waxed until they shone. Another representation of light and brightness. ‘Waxed’ has another meaning which implies he is in a state of fullness. ‘Turned-down’ and ‘boots’ have other meanings too, associated with rejection. Rand tried not to let his relief show. Rand’s first fully described emotion is relief. But he tries not to show it to the man he is relieved to see. They had been gone long enough. Is Rand worried they might have been captured or killed? Is he impatient to start his next endeavour? A blunt statement like this tells readers what Rand’s concern was, but provides no context, making it a mystery.

“Well?” he said. Using ‘said’ or ‘replied’ keeps the conversation normal. Normal for Rand is a vague monosyllabic demand which Bashere must interpret. Rand’s impatience and unreasonableness is conveyed powerfully by this single word.

“The Seanchan are amenable,” Bashere replied. Bashere also keeps the conversation normal. His response is blunt too, but uses a grandiose word. ‘Amenable’ implies the Seanchan can be persuaded or controlled. “Crazy as loons, but amenable. Loons have been used several times to describe crazy people, but lunatics only once, by Mat. The idea that they are crazy adds to the prejudice that Rand can control them. This sentence is the only one that gives an idea of what negotiations may be like. Without it, the conversation would be blander. They require a meeting with you in person, though. Persuading the Seanchan means meeting a condition or two. This is the first condition. The Marshal-General of Saldaea isn’t the Dragon Reborn.” This is the payoff for stating Bashere’s full title earlier. Despite his resplendent outfit Bashere isn’t who the Seanchan want.

“With this Lady Suroth?” Danger! Readers know she’s a Darkfriend.

Bashere shook his head.  The author could have just said no in the reply, but an action conveys the same and keeps this short discussion from being a pair of talking heads.  “Apparently a member of their royal family has arrived. Using the word ‘apparently’ shows Bashere doesn’t take everything the Seanchan say at face value. It’s a short way to convey that, because it would probably require a full sentence otherwise. Suroth wants you to meet someone called the Daughter of the Nine Moons.” This revelation should cause unease and confusion. It is uncertain whether this scene takes place long after Mat’s recent scene, so it is unclear whether Tuon is back in Ebou Dar. Using her title instead of her name adds to that confusion. ‘Someone’ makes the statement less precise, and may indicate more doubt from Bashere.

Thunder rolled again for distant lightning. Going back to the earlier metaphor, Rand is no closer to the Light than he was before, and the thunder has an ominous feel to accentuate the last paragraph’s revelation.

Robert Jordan isn’t always this crisp, so this epilogue is a pleasure to read.

Writing Lessons:

Every word a writer chooses serves a purpose.

The Great Hunt - Chapters 13-17

In this section, Rand encounters an old enemy, and a new love interest.

Introducing a love interest, whether as the main squeeze, as a foil, or as the third in a love triangle, can be tricky. The reader may find it obvious what the author’s intent regarding the love interest is. You should be aware of how you want the reader to perceive the character. To date, only a few random encounters have seriously threatened the Rand-Egwene relationship. The main obstacle the relationship faces is their incompatible destinies. But now, Selene enters the picture, and the author’s intent is clear. Selene offers an adult relationship far from the platonic love that Egwene represents. From the onset, Selene is portrayed as a temptress. Her behavior, added to the Dark Prophecy and the odd scenes with the elusive woman in white, allow the reader to easily deduce her motives and identity. She is playing a stereotype; there is no need for subtlety. She is Bad News.

If Ba’alzamon represented doubt, Lanfear is temptation. Her breathy whispers of power and glory, her impossibly perfect beauty, her willingness, her vague promises, are all designed to bring Rand to the Dark One. She and Ba’alzamon have abducted Rand, removed him from outside influences, and offered him a choice where either option leads to the Dark One.

With all these possible motivations foisted on him by Moiraine, Lanfear, Ingtar, and his friends, Rand’s quest will no longer be to find the Horn, but to find his reason for finding the Horn.

Touching saidin is depicted in a very sexual way, that feeling of being truly alive, of being able to do anything, of always wanting more.  This association is a strength of the world’s mythology. People’s feelings about sexuality can be very different, but having feelings about it is a universal human experience.  The more universal an experience, the wider an audience can identify with it. Rand’s ability to touch saidin is coincident with his discovery of sexuality in these chapters. The language giving this imagery is not confined to saidin, such as when he pictures Selene naked, or rubs his hand along the Portal Stone column, or when Selene describes her desire to touch the Horn. Enough nouns are replaced by ‘it’ to make many sentences have dual meanings, suggestive and funny. Selene urges him to touch saidin, and to learn to control it. Rand is afraid of what will happen if he uses saidin, is worried about the taint on it. These feelings of uncertainty, fear, and excitement feel like they could happen to any young man who is coming of age, and resonate with readers. If it’s a bit icky to some readers, well, that’s the taint on saidin.

Lanfear really is the total package, combining an Age of Legends equivalent of a Ph. D. in astrophysics with beauty and grace. Only a few of the ancient Aes Sedai studied the Mirror Worlds, and understood how to use their properties as elegantly as Lanfear has done, to move Rand in space-time ahead of Fain’s Trollocs. I wish Loial hadn’t dropped his sungwood quarterstaff before leaving the Mirror World, so that we’d see whether it survived the trip back to this one. Exploring the mechanics of Mirror Worlds is best saved for after we learn more about the World of Dreams.

Perrin’s storyline parallels Rand’s, as he too seeks to avoid the new abilities he has discovered. Perrin’s interview with the Amyrlin seems not to have involved discussion of his abilities, since he believes that no one beyond Egwene and Moiraine knows about it. Verin should soon be able to add herself to that short list with her curiosity and interest in ta’veren.

Robert Jordan had a wonderful way of crafting a sentence. I’ve pulled one in particular out, to see just how and why he has made it twist so wonderfully.

There across his palm was branded a heron.

This way of phrasing it is poetic, drags out the revelation, emphasizes the symbol. A number of possible variations could have been direct, or emphasized the pain, or sparked confusion, or been a lesser part of the paragraph instead of its central idea, or a number of other things. The order of words helps strengthen the idea, and the emphasis put on it.

There was a heron on his palm, branded.

A heron was branded across his palm.

His palm had a heron branded across it.

The brand there across his palm was a heron.

A heron, there, across his palm, branded.

Writing Lessons:

The order of words in a sentence, and of sentences in a paragraph, has an impact on the reader.