STATE OF THE
readers on the state
of each of his projects.
Annotation Elantris 61-3
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Now, perhaps, you see why I was worried that I had Raoden too far up on the slope. In order for the plot to work, I had to get him down to the city in a hurry so that he could draw the Chasm Line.
If you think about pacing a little bit as you read this chapter, you’ll see that a lot more time is passing between sections than I’m implying by the quick cuts. It probably takes Raoden a good twenty minutes of running to get down that mountain. Fortunately, I’ve established that Elantrians don’t get out-of-breath.
He also runs, dragging the stick, longer than I imply. I think the pacing here is important to keep up the tension. However, if you draw the line, you’ll see that he had to cross a good distance of land while dragging his stick.
THE SPIRIT OF ELANTRIS (PART TWO)
So, my only worry about the climax here is that it’s a little hard to visualize. Because I never quite got the map to look like I wanted it too, it’s hard to see what Raoden is doing in this chapter. Essentially, he adds the chasm line to the Aon Rao that Elantris and its outer cities form. Because Elantris was an Aon, it stopped working just like all of the other Aons did when the Reod occurred. I’ve established several times in the book that the medium an Elantrian draws in–whether it be mud, the air, or in this case dirt–doesn’t matter. The form of the Aon is the important part. By putting a line in the proper place, Raoden creates a gate that allows the Dor to flow into Elantris and resume its intended purpose.
This is the scene that made me want to write this book. It, along with the one I talked about in the last chapter, formed a climax that I just itched and squirmed to write. (That’s always a good sign, by the way.) The central visual image of this book is that of the silvery light exploding from the ground around Raoden, then running around the city. Storytelling-wise, this is the one scene I wish I could do cinematically rather than in text.
I’m sorry for killing Karata. It felt like the right thing to do right here, even though my readers universally disagree with this decision. This is a very important series of events. If I didn’t have any real danger for the characters, then I think earlier events–where characters did die–would come across feeling more weighty. Karata and Galladon throw themselves at a troop of armed soldiers. There was no way for that to end well.
(By the way, none of the readers have even batted an eye about Eshen’s death. I guess she got on their nerves.)