Yezrien

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Yezrien last won the day on February 2 2017

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About Yezrien

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  1. I see what you're saying, but sovereignty also has a slightly different meaning, related to independence. It can mean rule over others, like dominion, but also self-rule. When one people is ruled by another, they have been deprived of sovereignty: self-determination, and freedom from the wills of others. The American Revolution and the Irish War of Independence, for instance, were fights for sovereignty. Not just to remove British sovereignty, but to acquire their own. To have sovereignty is not necessarily to rule over others, as a sovereign. When we use the word today to refer to "sovereign states," it simply means autonomous.
  2. Maybe someday we'll learn that "Autonomy" is like "Passion." It's just Bavadin's way of putting a good spin things, and the shard's true (or at least more accurate) name is something a bit more sinister, like "Exclusion" or "Sovereignty."
  3. To further clarify, "sentient" comes from a Latin root meaning "feel," just like "sense." In science fiction, "sentient" is usually used to mean "alive." A computer can demonstrate very sophisticated behaviour, but you wouldn't call it "sentient" until it starts to feel emotions. "Sapient" comes from the Latin word for "wise." (Homo sapiens means "the wise man.") It refers to person-level intelligence. For example, dogs and cats are most likely sentient, but not sapient. You wouldn't call them sapient until they start doing calculus. There's a lot of confusion because people often say "sentient" when they mean "sapient." These animals sound a lot like spren that bond Radiants; they also gain sapience from bonding a human, and grant magic in return. My advice would be to focus on the story you want to tell, and let that determine how the magic works. For example, if you want to write a story about a war, like The Stormlight Archive, you should probably focus on how different animals fight, and what kinds of combat magic they could bestow. Who are your human characters, and what to the Centers mean to them?
  4. Maybe the cut broke the skin, but it can't drain Stormlight unless it touches flowing blood. This is looking more and more hemalurgic. Also, what about Navani's "something beyond Shadesmar" theory? She's almost figured out that there's a Spiritual Realm, and that she can potentially use it as an unlimited power source. Holy crem, fabrial technology is about to storming explode!
  5. I hope Lirin isn't too proud to bond a spren and get Progression. He could really put the surge in surgeon. Also, I love this new Fused. Cool powers, clever combat skills, awesome appearance, great setup for a recurring antagonist. I love the image of Kaladin holding the severed head like Yorick, watching it turn to dust.
  6. Fair enough. Just keep in mind that "life is easy" usually means "story is boring." So it might be best to do the shattering sooner rather than later. But I do look forward to seeing that twist.
  7. Thank you! I do my best. We're all in the same boat, after all, us aspiring authors. The least I can do is pass on the best advice that I've been given. I think you're assuming that "conflict" means "action," but these are not the same thing. Conflict is any obstacle that stands between a character and their goal. It is anything that threatens you, or threatens something you value. For example, when Aurora and Lacy realize they've left their ticket in the carriage, and the guard won't let them into the parallarity gate without it, that's conflict. Their whole journey is suddenly at stake. The problem is that the conflict is resolved too easily: they basically get the guy to bend the rules and let them in by saying "please." If the guard was a little more stern, then Aurora and Lacy would have to get creative. They'd have to talk their way through with some clever bargaining, or an elaborate lie. Or maybe sneak past the guards and slip through the gate illegally. In other words, they'd be forced to do something interesting that reveals a lot about what they're capable of, and what they're willing to do to get what they want. In other words, conflict is character development. The friendly banter is nice and fun, but we reveal our true selves when there's trouble. So true. I can't even commit to writing a first draft until I have that chapter-by-chapter (or scene-by-scene) breakdown, but you still never really know how it's going to go until you get into the actual writing.
  8. Very interesting stuff so far. The prose is pretty solid, the map is delightful, and I'm intrigued by the elemental heavenly bodies. Normally I'm skeptical of any magic system based on the four classical elements, but you seem to be approaching it in an interesting new way. Right now I think your biggest problem is a serious lack of conflict. These scenes have either no conflict at all, or conflicts that are resolved very easily. The result is a general feeling of mawkishness. Like what the fanfic community refers to as "fluff." You might be thinking that you don't need conflict yet because it's still early in the book, or because this is targeted at younger readers. I assure you, both of those assumptions would be wrong. Even if the main conflict of the book hasn't started yet, a scene still needs its own conflict. That's what gives it drama, emotion, and structure. It's what makes it a scene, not just a series of things that happen. Consider the fact that none of the POV characters have been seriously challenged yet. Nothing has been immediately at stake. This is just a first draft, so everything is forgivable. But think about this as you go forward. Conflict in every scene. Problems that put the POV character to the test. It'll seriously level up your writing. Regardless, you certainly have my attention. I look forward to seeing where the story goes!
  9. I've thought along similar lines about oathbreaking and shard-death. That's why Radiant-spren are "killed" when the Radiants break their oaths; the nahel bond makes the human and the spren into one being, so when the human betrays the ideals that their spren represents, that's the same as the spren betraying its own essence, becoming its opposite and cancelling itself out. I don't think it's a stretch to think that a shard might be killed or splintered in a similar (albeit larger) method.
  10. How exactly are the four forms related each other? I see two possible explanations: It's exactly what it says on the tin: Occultists get their power from dark gods, druids from nature, etc. They all use the same access techniques, like gestures, but to draw from different sources. In cosmere terms, the spells, gestures, and materials are the focus for this planet, but that focus is being used to channel investiture from four different Shards. They're actually all the same system, drawing on the same power source, but divided into four specializations or schools based on culture. In cosmere terms, the magic's abilities are shaped by Connection and various cognitive forces.
  11. Sounds interesting. Is there anything you can tell us about the story?
  12. This is an interesting interpretation of "a new thing, but old of design." Maybe some version of the Everstorm has always existed, but it was only recently (post-Honor) that they were able to bring it to Roshar. I have long been a proponent of the "Everstorm has a Spren" theory. It's Roshar. Everything has a spren. Even if the Everstorm doesn't have one now, it probably will soon.
  13. Heady stuff, as always. Very vivid diction. I can't wait to see this 14-line poem. I believe Brandon also starts at the end and works back. Dan Wells's seven-point plotting method works on a similar principle: first identify the climactic resolution of the story, then you create a beginning that's the polar opposite of that to maximize the dramatic transformation of the story arc. (Then you connect the dots between those points with a series of revelatory plot twists and intense pinches.) Anyway, I'm glad that as you work backwards to discover the path of the plot, you're also considering the path of the reader. The learning curve for this story is going to be Mount Everest. The complementary opposite of this momentous, arcane climax is a beginning that's accessible, ant it'll take a lot of hand-holding to get the average reader from A to B.
  14. I like the theory that Odium seemed smaller the second time because Dalinar was so much more invested, on the verge of "Ascending." Odium seemed smaller to him the way your childhood home seems smaller when you visit it as an adult. Not small, not smaller than you, but smaller relative to you. It's also possible that Dalinar was able to subconsciously sense some of the forces that bind Odium, which made him feel less threatening.