“So … ,“ I said. "You’re saying that by the end of our training, you expect us to be able to use grappling hooks made of energy to smash our enemies with flaming chunks of space debris?” “Yes.” “That … ,” I whispered, “that’s the most beautiful thing I’ve ever heard.”
And just because why not, here’s my Emperor’s Soul project all in one post!
For my portfolio I did this Visual Development Project based on Brandon Sanderson’s novella „The Emperor’s Soul“. In an Asian-inspired fantasy setting, we follow the story of Shai, a so called „forger“ with the magical ability to change an object’s appearance and history by applying a „soul stamp“ to it. @torbooks
Fan art! Sketches done on post-it notes at work. The first two are, in order, Shallan and Adolin from Brandon Sanderson’s Stormlight Archive books. The third drawing is Korra from The Legend of Korra.
In a lecture series on Youtube, #1 New York Times best-selling author Brandon Sanderson talks about the three P’s of plot structure: Promise. Progress. Payoff.
Promises are particularly important in the beginning of the story, as they draw in the audience.
Progress keeps the audience invested, particularly through the middle of the story. If there is no sense of progress, then the reader feels as if the plot isn’t going anywhere.
Payoff is what fulfills the promises of progress. It rewards the audience for sticking around, and if done properly, creates a feeling of satisfaction at the end of the story.
While all three can be tricky in their own right, many writers struggle to create a proper sense of progress, which can lead to saggy middles.
Luckily, Dramatica Theory breaks plot down into eight story points that essentially encapsulate progress.
If you apply them to your stories, your writing will always have progression through the middle.
1. Goal - Every story has a goal. It may be a goal of aspiration, such as becoming a top chef. Or it may be a goal of thwarting something, such as stopping a murderer. Whatever the case, a story’s goal is what enables us to measure progress. If there is no goal, then what one does, doesn’t really matter. We have no orientation or purpose, so there is no sense of moving forward or backward. The goal allows progress to happen.
2. Requirements-In order to achieve the goal, something is required. This can be broken down into two variations. In one, the characters must follow an order of steps, like following a set of directions. In the other, the characters must do or obtain things in any order, like a shopping list. The characters in Jumanji, for example,have the goal to restore the world to normal. The requirement is to win the game. But they must do this in a proper order–they can’t skip turns.
3. Consequences-Consequences are what happen if a goal isn’t achieved or hasn’t yet been achieved. In some stories, the protagonist is trying to prevent the consequences, but in others, the protagonist is trying to stop the consequences that are already happening. Consequences might be thought of as overall stakes. In Ralph Breaks the Internet, if Ralph and Vanellope don’t buy a new steering wheel for Sugar Rush, then its characters will be homeless.
4. Forewarnings - Forewarnings convey that the consequences are getting closer, becoming worse, or becoming permanent (depending on the story). If a dam is in danger of breaking, then a forwarning may be a crack that shoots out water. In Back to the Future, Marty’s family slowly disappearing from a photograph works as a forewarning.
5. Dividends-Characters will likely receive small rewards for little successes along the journey to the goal. These are dividends. For example, on her journey to fight in the war in her father’s place, Mulan is rewarded honor and a place in the military when she is able to retrieve an arrow from a wooden post that none of the men could get down.
6. Costs - Just as the journey may include dividends, it also entails costs. These have negative impacts on the protagonist’s well-being. In order to win The Hunger Games, for example, one must be willing to kill others, which also includes psychological trauma. In order for Frodo to get to Mount Doom to destroy the Ring, he must suffer a loss of innocence. This is a cost.
7. Prerequisites - There are often certain essentials one must have, to pursue the goal at all. These are prerequisites.Prerequisites on their own don’t bring the goal closer. This is why they aren’t requirements. In Interstellar, a spaceship, equipment, and astronauts are needed to travel space to find a new home (goal). But simply having those things doesn’t necessarily mean the characters are closer to discovering a liveable planet.
8. Preconditions - Preconditions do not directly relate to the goal. They are “non-essential constraints or costs placed on the characters in exchange for the help of someone who controls essential prerequisites.” In Karate Kid, a prerequisite is that the protagonist must receive extra lessons from a master, but the master adds the precondition of doing chores. One does not technically need to do chores to do karate.
Some of these points are more direct–like requirements–while others are more indirect–like preconditions. The direct points will usually be more intense than the indirect. As you apply these elements to your stories, you’ll create a sense of progress–especially through the middle, which will help make any story more satisfying.
One thing I’ve really appreciated about this series is the wide spectrum of religious beliefs throughout this book. Jasnah is an atheist, Shallan holds onto the tradition of religion. Most of the characters believe and follow the Almighty. Other cultures have their own beliefs.
Szeths culture believes rocks are holy and the Alethi use rocks as a tool in just about every aspect of their lives.
In Words of Radiance, the characters Ym has a conversation with a local boy about religion. He claims, “Iriali need no preaching, only experience.” He believes people came from one consciousness and live seperate lives that will be reunited later on.
Brandon Sanderson himself is a Mormon but he poses realistic debates about if there is a God, and other perspectives on religion. These conversations aren’t the author screaming their opinions, it’s realistic worldbuilding. I’ve read some books that either don’t touch religion in their worlds, or force their worldviews on the reader every other page.
The debates and practices of religion in these books seems very realistic to me and I’ve loved learning about them.
I have actually managed to finish The Way of Kings by Brandon Sanderson. Although, I don’t think I would’ve managed it without the audiobook…
I loved the world-building and the diverse array of cultures and people we get to experience through many perspectives.
The characters are deeply flawed in the best way. They have great inner character development and you clearly see their growth from beginning to end. Every one of their stories ends differently than how you thought they would. I won’t spoil it but he ending had me rooting for them and so excited.
That being said…. I have nitpicks
Possibly the biggest nitpick is some of the dialogue is just laughable. Particularly Shallan’s early conversations which were supposed to be witty just felt childish and awkward. her character I found to be a bit annoying because of this but I don’t think it’s the actual character, but the dialogue I didn’t like. There were other instances with Dalinar and Kaladin which also had some unnatural and awkward dialogue.
The “interludes” were a bit jarring the first time reading this. They felt completely unnecessary and you never revisited the characters shown in one chapter. I’m partway listening to this a second time and now I can connect the dots and see how SOME of these flow to the current story. I’m sure they will be more relevant in later books.
The story itself I didn’t find all that interesting. The Alethi culture I find confusing and annoying to be honest. That is the point of them but why would a group of people who have a great many ardents that study history, philosophy and everything else not look into the Parshendi?? Why would they not discover more about their battle tactics and how their culture works?
A huge point of Dalinar’s character is that he is apparently the ONLY one who realizes the war has to end at some point. Not one other person does anything to help this war to end. I still don’t understand how Brandon managed to make 60% of this story about going and getting gem hearts because it’s not that interesting… at all. We don’t know if there are any true consequences if they don’t have enough. They are living in wealth and comfort… the only reason they are doing “battle” for these gem hearts is because of status. It’s dumb.
The beginning and middle of the story I begrudgingly listened through but the ending made me want to read the second book. It all came together but I don’t think it needed 45 hours (or 1000 pages) to get there.
Questioner:In The Way of Kings, there’s a Death Rattle that reads, “He must pick it up, the fallen title! The tower, the crown, and the spear!” Have the events alluded to in this Death Rattle occurred, on or off screen, by the end of Rhythm of War?
Brandon Sanderson: No. *evil laughter*
Questioner: Could the tower, the crown, and the spear possibly be referring to Renarin?
Questioner: On Roshar, it’s kind of tradition men eat spicy foods, women more sweeter. Could it be possible that a sort of euphemism for gay men or gay women is, “Does he eat sweet food? Does she eat spicy food?”
Brandon Sanderson: I could see people saying that, yes.
![[XIII] Shallan, Shalash, shash, garnet, the blood…](https://64.media.tumblr.com/5b7ba06fd6b46acb9c93ec0922ee3d55/tumblr_of2lgsOm411td30h9o1_1280.jpg "[XIII] Shallan, Shalash, shash, garnet, the blood…")
