So how much do you have to work off from what Robert Jordan left behind?
There’s a lot of notes. It really depends on the scene. In some scenes he actually dictated or wrote complete scenes. In other places he left very detailed instructions. And in other places, he brings one character into play and then doesn’t mention them for hundreds and hundreds of pages and then they’re in another place having done something that he hasn’t mentioned. It’s because he wasn’t a linear writer, he was one of these very creative types that just seized upon moments and wrote those moments. I ended up getting this massive pile of notes where certain scenes were done, and they were all over the place time-wise, whatever he’d been passionate about what he’d been working on, and other things that he just hadn’t gotten to yet. But there are these huge lists of questions and answers between him and his assistants, which is really what makes this possible, because they ask him a lot of questions—what happens to this character? Okay, what’s this character doing? Those sort of things that I have a lot of one-line and two-line answers to that can help me draw these things together.
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