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Orem Signing Report - Zas (Verbatim)                                  

                                          
Question
Did you have to invent any of it yourself, or did Jordan leave a lot of it for you?
Brandon Sanderson
He left some of it for me, and then I had to make the rest. As you're reading through the books, probably about half and half. Half will be stuff that he wrote notes on, half will be stuff that I wrote.

Brandon Sanderson (December 2012)
Well, okay, this is going to be kind of long.

To understand my next step, you have to understand what we mean by "Notes." There are really three groups of these.

1) Robert Jordan's Worldbuilding Notes. These were in a series of
dozens, maybe hundreds of files embedded chaotically inside of files inside of files, using his own system of notation. The notes reach all the way back to early books he was working on, as he was working on them. They aren't intended to be read by anyone other than him, and are sometimes very difficult to figure out. This is the group that Harriet has said, in her estimation, include a total wordcount equal to or greater to that of the published series.

2) The notes for the last book, gathered by his assistants Maria and Alan, with Harriet's help. These are far more focused on the last book, notes that RJ wrote specifically focusing on the last book. This is a much more manageable amount, maybe fifty or a hundred pages. It includes interviews that Alan and Maria did with RJ before he died

3) Scenes for the last book, either in written form or dictated   during his last months. This includes some completed scenes. (The last sequence in the book, for example. Also a lot of prologue
material, including the scene with the farmer in The Gathering Storm, the Borderlander Tower scene in Towers of Midnight, and the Isam prologue scene from A Memory of Light.) A lot of these are fragments of scenes, a paragraph here and there, or a page of material that he expected to be expanded to a full chapter.
This is different from #2 to me in that these are direct scene
constructions, rather than "notes" explaining what was to happen.
Together, #2 and #3 are about 200 pages. That is what I read the
night I visited Harriet, and that is what I used to construct my
outline.

Q: Is there a character you took in a different direction from what
Jordan had intended?

A: In terms of a character, and what would happen to them ultimately, no, not really. However, there were times when some things had to be adjusted, specifically some plot points, in order to make the narrative as a whole flow better. Brandon did mention that he wanted a character that he felt like was his own, which he got to do the most development on. That character became Androl. A lot of what Androl did were things which RJ said had to happen. Brandon picked Androl to do them, and gave the character his own touch more than any other.

Quote
masaru:

Me: did RJ say that Nakomi should be included? You said she was "deep in RJ's notes" but wondering if it was up in the air?

BS: I said something deep in the notes made me include her. I have not said if she herself was in the notes or not.

Brandon
Quote
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.

Brandon Sanderson                                            
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 pageswere 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.