Authors and Their Publishers

August 30, 2026 — Pat Bertram

I’ve collected four epic fantasy book series, and the behind-the-scenes revelations of the authors’ dealings with their publishers are stories in themselves. In the first book series I read, The Wheel of Time series by Robert Jordan, the author was apparently allowed to do whatever he wanted, go way off into the hinterlands of his story, and turn the original six-novel series into a massive and overblown fourteen books. His digressions cost him readership (though not money, which is why his wife-editor and his publisher let him do what he wanted), and those digressions, what fans call “The Slog” are what made them prefer the substitute author who wrote the ending after Jordan passed away. Although I’ve reread the series multiple times, I discount the ending completely, and skip over all the digressions, as well as his annoying female characters who tend to think the story is about them, even though none of them are prophesied to save the world from the Shadow. In this way, I edit the books to the way they should have been — a focused six-book series — but apparently, the extra money in the publisher’s pocket offset any need to create an edited masterpiece.

The next series I read, the unfinished Kingkiller Chronicles was the opposite. Although he had written the entire epic before he sought a publisher, they edited the first book so much that the second needed to be rewritten to match the first book. Then, when it came time to publish the final book of the trilogy, it turns out Patrick Rothfuss was at a loss. He’d have to scrap the 300,000 words of the book and start over, which he tried to do, but stress of all kinds — marital problems, mental issues, and trying to live up to his reputation — laid him low. Apparently, he thought he could still finish the project because he offered an unpublished chapter of the final book for anyone who would donate to a certain cause. Fans donated a ton of money, but he couldn’t come up with the chapter. Nor could he come with the cash to reimburse everyone since it went to the cause. Fans are incredibly angry with him, but it’s really the publisher’s and editor’s fault. Since they had the entire series in their hands, they should have edited the whole thing at once before publishing the first book to prevent the numerous problems they caused by doing it piecemeal. That way, the three books would hold together, and they’d each have been ready in time for their publication date.

The third series, Memory, Sorrow, and Thorn by Tad Williams, the one I’m reading now, had the perfect relationship with his publishers and editors. Even before a single word had been written, they were there, helping, offering suggestions, editing, and they stuck with him through the entire writing, editing, and publishing process. What’s amazing to me is not only that almost unheard-of author/publisher relationship, but with all that, there are some decidedly amateurish writing issues, such as a torrent of similes. Way too many! In one case, I found six similes, all unrelated, in a single six-sentence paragraph. And no one caught that stylistic issue? Still, for better or worse, of the four series I own, this is the only one that was ever finished.

The fourth one, the Master Li and Number Ten Ox series by Barry Hughart was supposed to be a seven-book series, but problems with his publishers destroyed his desire to finish, so there are only three books available. Apparently, the first book, Bridge of Birds, won major book awards, but his publishers never bothered to let him know. They also screwed up release of his books, so that when reviews were published, the books weren’t available. Also, with the third book, they published both hardback and paperback at the same time, which considerably reduced the sale of hardback books, making the publishers decide not to publish any more of his books in hardback, which limited his income. They also refused to consider promoting his books to any other market than the fantasy market, which again limited sales of his books. All of which made writing less than profitable. And killed his enthusiasm for the project.

My experience is closest to Hughart’s in that my publishers killed my desire to write. The first publisher fought with me over every little thing. I accepted a contract with him on the condition that I got to approve the final copy, but he still insisted on editing my books without telling me. Even worse, he (or the college kid he had edit them) actually added mistakes. I gave him one final chance, again with the caveat that if he made any changes, he’d let me see them, but he didn’t. In fact, he took a perfectly formatted book, one that was ready to be published (I’d been formatting books for him for years on a volunteer basis— silly me — so I don’t know what his problem was), but he redid the formatting so that there was no gutter allowance. (The gutter allowance allows room for the binding of a book, otherwise the text disappears into the binding.) He finally fixed the formatting and removed the mistakes he added, and mostly got it correct, but was angry with me for “self-publishing on his dime,” as he said. Though how can it be self-publishing when he has yet to send me any royalties?

My second publisher was great for the first book. He sent me the gallows to check, did a perfect cover, published in a timely manner. A truly awesome experience. Then, I don’t know what happened — Covid maybe? Anyway, whoever edited my second book for that publisher made a terrible change to my formatting, and by the time I realized what a mess of my book the editor had made, it was too late for the problem to be corrected.

[They separated the beat from the dialogue, putting each on a separate line, so it was impossible to tell who was saying what. A beat is the bit of action that is used in place of “she said.” For example:

The way it was supposed to be:

She sighed. “I am so disappointed in how the book turned out.”

They changed it to:

She sighed.

“I am so disappointed in how the book turned out.”

It’s not a big deal with a single bit of dialogue, but with a long back and forth, it got complicated. Even I couldn’t tell who was speaking since the person sighing and the person speaking could be two different people.]

I know the story is something to be proud of, but the way it was published utterly broke my heart as well as my will to write any more novels.

Hughart is dead now, so his series will never be finished. As I am still alive, there is a vague chance that I might write another novel, but I doubt it. It doesn’t seem worth the aggravation.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One

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Time to Fill

August 26, 2026 — Pat Bertram

I thought I’d have trouble spending way less time on the internet, but the only problem I have so far is what to do with all that free time. There’s only so much work I can do outside before the heat makes being out there a dangerous folly, so I’m not doing too much more than I had been. I did clamber about my back garden patch, the one where I planted a pumpkin vine that is creeping over the entire area, to do some weeding. Luckily, I was able to do most of the work near the fence, so I had something to hold on to as I worked my way through the jungle. To my delight, I discovered a pumpkin hidden back there! It’s still green, so it will be a while until I can harvest it. Meantime, the first pumpkin I found has turned a luscious orange. Now I just need to figure out what to do with it. Maybe cook it, peel it, puree it, and freeze it. The best part is that the work will take up some of my free time.

And I will have to find things to do to use my reclaimed time. Although I’d just as soon not play the game I’ve been fooling around with for the past six years (being at home during the Covid mess and needing something to do is what got me started with it), it’s hard not to want to log in when I get bored. So I do. Log in. Not to play. Just to check to see what’s going on, maybe play one of the less irritating side games for a few minutes, then I’m finished. Anything more annoys the heck out of me. It’s a simple hidden object game where you look for hidden objects in pictures, and yet they act as if each move is a major casino-like win, with all sorts of lights and flashes, and whirling objects that seem to fly out of the screen. Luckily, I have nothing invested in the game, so whether I play or not is no big deal.

I also check on the news aggregator I follow, but even that now is a quick in and out. To be honest, I’m getting to the point where I don’t want to know what’s going on out there. I’m so much better off in my own little world. Or in the magic worlds of the two fantasy authors I like. It doesn’t even bother me anymore that the books were never finished. Well, I suppose The Wheel of Time was finished, but since it was finished by a terrible substitute author after Robert Jordan died, to me, it is unfinished and will always remain so.

I did find another series from that same era (before Woke hit the fantasy genre), though who knows if I will like it — the reviews are mixed. Still, I’ve read about a third of The Dragonbone Chair, and so far, so good. Best of all, it’s a million-word novel spread out over four different books, so even if it turns out that it’s not my sort of story, it will keep me company through thousands of meals.

Although I don’t particularly like fantasy, in fact I can’t stand most of it, there is a genre within a genre — a coming-of-age/hero’s journey story in an earthlike world, where much is familiar though skewed with a bit of strange — that I do tend to enjoy, but so far, I’ve only found three such series that appeal to me. Luckily, these stories are all very long with multiple books in the series and deserve more than a few readings. In fact, it was only during the second reading of The Kingkiller Chronicles that I realized that much of the dialogue is in rhyme or seven-word sentences depending upon the character. Something to go back and pay attention to. Best of all, none of those books has much to do with our world today except in an allegorical or fable-ous way, which is good for my peace of mind.

Still, as with working outside, there’s only so much reading, and working puzzles, and such that I can do in a day, so there’s still a lot of time to fill.

Luckily, as I find myself reaching for the keyboard to offset an upsurge of boredom, I remember what is waiting for me, and that makes it easy to stay away.

At least for now. Who knows what I’ll get up to in the coming days.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One

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All the World’s a Stage

July 10, 2026 — Pat Bertram

It’s only recently that I’ve become aware of politics as identity and identity as ideology. Somehow, I thought people were bright enough to stand apart from what they believed, to see themselves as a person believing a thing, not believing that they were the thing believed. But apparently not. When some people buy into a political ideology, they identify with that ideology, and when the ideology is attacked, they think that they themselves are being attacked, not just their idea.

I can’t imagine holding any idea so strongly that a destruction of that belief would destroy me, but that is not the case with a lot of people. Decades ago in a theology class, the teacher broke down everything we believed. His intent, if I remember correctly, was to make us rethink what we thought we knew. To get us to start building up a new way of thinking. Before he got to that point though, a student in the class got really upset, and told him he was destroying everything we believed without giving us anything to replace it. It was as if he had destroyed us, since those beliefs were the foundation of our lives until then, and most of the class were as upset as that one student, but it didn’t bother me. It was just something else to learn, is all. (As far as I was concerned, nothing I learned in school was ever about me. It was just the curriculum.)

To be honest, that’s the only thing about that class I remember. Well, there was one other odd thing that has stuck in my mind all these years. He taught that “Love is the movement of an appetite toward a recognized good.” (His exact words.) I think the discussion that day centered on the supposition that if this were true, then what we think of love is really like and vice versa. But the upshot of that class is lost in the shadows of time. Or rather, in the shadows of my mind. Odd that I remembered those two bits.

A more recent example comes from The Wheel of Time. In the books, there is a people, a warrior society, that takes their entire identity from their belief that they were always warriors, that what sets them apart from others and makes them morally superior is that they use spears rather than swords, their thinking being that spears can also be used for hunting while swords can only be used to kill other humans. When this ideology was proven false, a huge percentage of those people couldn’t handle it and ran away, not just from their culture but from themselves. (It often seems to me that these books are a brand-new allegory instead of a decades-old fantasy series.)

The odd thing is that the story of this warrior society helps me understand many politically motivated people today, while at the same time, these people today help me understand the people in this warrior society.

Another odd thing is that in the book, the chiefs of this society knew that the destruction of their beliefs and their people had been prophesied, but as a chief said, “It’s one thing to know prophesy will be fulfilled eventually, another to see that fulfillment before your very eyes.”

This statement certainly rings true to me. It’s one thing to spend a lifetime studying “prophesy,” aka history, both overt and hidden, and to know that one day we will be balanced on the knife edge of keeping our country a constitutional republic or turning into another sociologic cesspool, but seeing it happen before my eyes is . . . disheartening. It’s also weird to see all the political, global, and economic machinations that had been going on behind the scenes my whole life, suddenly appearing on stage as if it’s no big deal. I’d always presumed I’d be gone by the time this new world order would be put into effect, but it’s happening faster than I expected. I try to look at it as seeing history in the making — both the push toward socialism and the pushback of the republic — but it’s hard to continue to see it all as “out there.” It comes too close, at times.

Still, whatever happens, I will still be me. My identity is only as a truth seeker, not as a victim or oppressor. (And even “truth seeker” is only a surface identity. I am . . . me. Period. I am not my ideas. Not my writing. I’m just me. No further definition needed.) And, if I am being truthful, there is a chance I will never see the fruition of this current push since part of the “ideology” has always been to get rid of the old folks who are perceived by the young as using up too many resources without contributing anything.

But who knows. The curtain is up. The play is still going on, and we have yet to discover the plot.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One

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Betrayer of Hope

July 8, 2026 — Pat Bertram
Daily writing prompt
What villain actually had a good point?
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In The Wheel of Time books, there are several villains, all with their own reasons for turning to the Shadow aka the Dark One. A music lover wanted to be able to make and listen to music forever, so he figured it was a good bargain. Some turned because they wanted immortality and power beyond imagining. A few turned because they were simply evil. And then there is Ishamael, also called the Betrayal of Hope.

In the prologue of the very first book, after a horrendous ten-year war, Ishamael tells “The Dragon,” (the defender of the light and the hero of the story):

“This war has not lasted ten years, but since the beginning of time. You and I have fought a thousand battles with the turning of the Wheel, a thousand times a thousand, and we will fight until time dies and the Shadow is triumphant!”

The Dragon is a man who was created to fight this eternal battle, though he doesn’t remember his previous lives. (Ishamael apparently does remember.) And since The Dragon never had a choice in the matter, he was just reborn at the proper time to fight the Shadow, I can only presume (on this reading, anyway), that Ishamael himself has no real choice in the matter, either, and was always born to fight the Light.

That’s assuming, of course, that Ishmael is telling the truth. One of the interesting aspects of the books is that each point of view character isn’t privy to the whole of the story, and sometimes they mistake what is going on. Another interesting aspect is how that world runs — the wheel of time keeps turning, and ages come and go and then come around again. Although there might be small variations each time, I get the impression that each age is pretty much the same as it was before.

Which means that these two men are fated to fight forever.

That is why Ishamael turned to the dark — the only way for him to get off the wheel, to end this terrible and terribly meaningless cycle, is to destroy the wheel, which, in his mind, means that the Dark One must be the winner of this eternal battle. Whether he saw this destruction as the ultimate act of mercy for the world or only for himself, isn’t clear. But still, to be stuck forever in a life he sees as futile, remembering fighting the same battle over and over again seems so very tragic.

Although some of the other minions try to kill the current Dragon Reborn at various times, Ishmael sometimes helps him stay alive because if the Dragon Reborn dies before the final battle, then Ishmael continues to be stuck forever in the endless cycle.

It makes me so very glad we live in a linear world, or at least we presume we do, where the past stays in the past and doesn’t come again. There is a fatalism to the books stemming from the wheel, where each age will be repeated when the wheel comes around again to that age again. Which also gives them their belief that you can change your life in small ways, but not large ones. Not an easy philosophy to live under.

Ishamael sees that fatalism, too, so unlike the other minions of the Dark One, he doesn’t seem evil, just driven to end the interminable cycle. And, in the world of The Wheel of Time, he has a good point.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One

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Changing a Book Ending

June 28, 2026 — Pat Bertram
Daily writing prompt
If you could change the ending of any book, which one would it be?
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If you’ve been with me any length of time, you know the answer to this one: I would change the ending of The Wheel of Time. Of all the books I have ever read, this is the only ending that gags me. If The Wheel of Time were a single book, it wouldn’t matter. I’d do the same thing I always do with books that have unforgivable endings — forget them and never read them again.

The Wheel of Time is different. A lot of it is utterly brilliant. As with any novel of four million words, most of those words are banal — some are unimportant, some are fill, and some are storylines that could easily be edited out. But it’s the brilliance that keeps me coming back.

If you don’t know, The Wheel of Time is a series of fourteen books that comprise what is, in effect, a single novel. The first eleven books were written by Robert Jordan, the last three by a substitute author who is so bad I can’t even mention his name. Oddly, a huge percentage of fans prefer those last three books. But then, I’m not a fan. As with everything in my life, I am a student, a truth seeker, a pattern recognizer, and The Wheel of Time happens to be the literary focus of those traits and has been for a long time. I first read the books about ten years ago and have read them several times since. In fact, on this very day, in 2020, I did another blog about these books.

Although I’ve figured out in my own mind what the ending should be, it no longer matters. To me, since I’ve mentally erased the last three books from the series, it’s a series without an ending. Which is as it should be since Robert Jordan’s writing ended when he did.

It’s funny when I think about it — the only two series of books I ever study are both unended. One because the author died and I refuse to acknowledge the ending by the substitute, and the other because he . . . I don’t know what happened, but he (Patrick Rothfuss) never managed to finish the third book of his trilogy.

Still, it’s the written words that count, and an ending (or not) doesn’t change their legacy.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One.

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Literary Irony

June 20, 2026 — Pat Bertram

I’ve been leafing through The Wheel of Time books and reading the parts that catch my interest. I’m quickly bypassing all the utterly boring sections, especially when it comes to the teenage girls and their individual grabs for power. These sections could have all been done through gossip or news being passed hand to hand or any number of ways to show their rise to power without readers being crushed beneath the banality. Some readers like those sections, the same people who think those two are the real heroes of the story, though I can see nothing of value to their stories other than that they became forces to oppose and perhaps help the hero.

Mostly I’m interested in the parts of the story that we aren’t bludgeoned with by a plethora of words, parts that slip through the cracks of “backstory” to become something else.

For example, one of the “bad guy” characters showed up in the army of male power-wielders that the hero had been gathering to help him fight the Last Battle. By chance, this particular bad guy was chosen from the ranks to be one of the hero’s personal helpers. Although the bad guy claimed to be a farmer, he seemed rather inept, could barely ride a horse, acted mentally slow, and was often found staring in consternation at the simplest things. He became part of a rebellion that tried to kill the hero, and in turn was himself killed by a “dark friend,” one of those sworn to the Dark Lord because the dark friend assumed he was nothing but the low-level soldier he pretended to be.

But if we turn that story around, piece together what we’ve learned about this bad guy throughout the story, and see it from his point of view, it’s a completely different and ironic tale.

In the first book, the hero kills a bad guy who was trying to kill him. Later, as we find out, this same bad guy is given a new body and sent to be one of the hero’s power wielding soldiers. It was pure happenstance that our bad guy ended up actually being in contact with and in service to the hero. Ouch. Having to serve the very person who killed you? So not fun! At least not for him.

Then we find out this same bad guy, some 3,000 years ago, had been a genius, a genetic researcher who created all the horrible monsters that currently plague the “good guys.” When the Dark Lord had been sealed up after a long-protracted war, this bad guy, along with a bunch of his fellow bad guys had been sealed up, too.

Back when he was sealed up, the world was way more advanced than we today can even dream of being, and so this poor guy wakes up into a backward world he cannot fathom, has no tools and no way to do anything he knows how to do, and so seems to be less than ordinary. And the final irony — this one-time genius, though being one of the premier bad guys, ends up getting killed by another baddie because he’s . . . ordinary.

Gotta love irony!

Another striking irony to me is that some of the characters hated by readers were not written as such by Robert Jordan but by the substitute. One character is a woman who helps the hero as she can, but seems a hard taskmistress since she demands to be treated with courtesy. I don’t think people would have hated her so much if Robert Jordan had been able to finish his books. Most of her worst characteristics ended up in the last three books that had been written by a decidedly inferior writer. So, since those three books don’t exist as far as I’m concerned, she turns out to be a woman who starts out demanding respect and ends up earning it. (I was one who didn’t like her, but she’s a good character up until those final three books, so I’ve come to like her.)

Another such character is a prince who was sworn to protect his sister, the daughter-heir, but she’s disappeared, no one will tell him where she is, and so he’s lost. He doesn’t know what to do and ends up — maybe — making bad decisions based solely on the chance of finding his sister. He’s also in love with a woman who is off doing self-important things, who says she loves him but doesn’t want his protection (even though that’s all he’s been trained to do). His bad luck was to be tied to both the power-hungry teenagers mentioned above.

To me his storyline is sad, and he only becomes an incompetent fool in the last three books under the pen of the substitute.

So, here’s another irony — readers love the substitute author, think he’s better than the original author, but blame Jordan for the characters they hate even though it was the substitute that mangled the characters. Yep! Gotta love irony.

I have those last three books, but as I’m leafing through Jordan’s books this time, I can see more and more mistakes the substitute made, and so I know for a fact I will never want to reread them. I just don’t know what to do with them. If I need the room on my bookshelf, I suppose I’ll take them to one of the little libraries around town since I still can’t force myself to go to the city library. Meantime, there they sit.

Because this post is about irony, I’m trying to find the irony in that previous paragraph, but it seems straightforward to me. Unless the irony isn’t in the paragraph so much as in the books. Although a lot of Robert Jordan’s Wheel of Time is utterly brilliant, an equal amount is plebian at best.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One.

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Rereading and Re-rereading

April 9, 2026 — Pat Bertram
Daily writing prompt
What book could you read over and over again?
View all responses

I’ve spent the past couple of years rereading various mystery series from start to finish so I could get the full story of the character. Normally, I just picked books at random so sometimes a character is married, sometimes is just meeting the love of his/her life, sometimes is in full parental mode. All while being a cop or agent or private detective, of course.

After reading more than twenty thousand novels (plus thousands of non-fiction books), I’ve found a sameness to the stories, characters, situations, so that novels tended to overlap, which is why I didn’t think it would matter if I read these series again. Unfortunately, I didn’t enjoy the books as much as I thought I would since (for me, anyway) most novels don’t have a lot of depth. What you see is what you get. I even went back and read books I’d read over and over when I was young, but the stories didn’t have the same pull for me now that they did back then. Of course, I’m not the same person now as I was back then, either.

Lately I’d been rereading the first eleven books of The Wheel of Time. (I have no interest in ever rereading the last three books by the makeshift author. Although readers seem to prefer them to the first eleven books, I find them to be overhyped drek.) There are so many layers to the books that Robert Jordan himself wrote, there are so many inspirations from and references to real life, so many interlocking characters to keep track of, that it’s taken me a long time to piece it all together. I’d think the difficulty of remembering in book ten what happened in book two would be a failing of my aged memory, but I do know one thing — I would not have had the patience for these books when I was younger, so any comparison is irrelevant. Nor would have read them then — I never liked that whole good vs. evil theme. It always seemed contrived. Besides, I know more of the world and its culture now than I did then, so the underpinnings of the story are more obvious to me, and those that aren’t are fun to discover.

I’m to the point, though, where I might have gleaned as much of the meaning and found as much of the puzzle as possible, so I might have to pack the books away, but for now, they still sit prominently on my book shelf while I read The Kingkiller Chronicle. Only the first two books of that Patrick Rothfuss trilogy have been published, but I’ll probably reread these books, too. Although there doesn’t seem to be much referencing to our myths and legends, there is a lot of inworld referencing that I’ll need to piece together someday.

I’ve been trying to find more rereadable books and series that I can sink my life into, but so far, no luck. The problem is, I’ve developed an aversion to going to our library (I’ve searched those shelves a thousand times and just can’t force myself to look even once more), so I will have to find rereadable books if I want to continue my lifelong habit of reading. There are a few other books on my shelf to go through, and there are the books I’ve written, of course, which are enjoyable to reread. (Though I have to confess, I’m a bit embarrassed by the reviews I posted here of those books. Talk about self-aggrandizement! So not my thing. Besides, every author feels the same way about their books, which makes those reviews even more cringeworthy.)

And after I’ve finished reading and rereading the books on my shelf? I don’t know. With any luck, I’ll find books to serve my reading needs.

On a completely different slant about these two series: I found a chapter-by-chapter outline by a reader showing where the final book of the The Kingkiller Chronicle might be going, which would be a good way to conclude the series if the author doesn’t ever manage to do it. I’d hoped to find something similar for The Wheel of Time, where the fans outlined what they hoped would happen, but I suppose having the finale written, no matter how badly, put the kibosh on any such online project. And anyway, I pretty much created my own ending, if only in my mind.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One.

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Story Endings

March 21, 2026 — Pat Bertram

I’m sitting here chuckling to myself. I’ve just gone through several novels in a row where I read the first couple of chapters, got bored, then read the ending with no desire to go back and read the bulk of the book I missed. What amuses me is that this is the way I read most books now, reading just the ending, and yet with The Wheel of Time, I skip the ending completely.

Well, maybe it isn’t that funny, but for a minute there, I saw the humor.

I just had the terrible thought that for the rest of my life, I’m going to be rereading those same eleven books because I simply can’t find anything else to keep my attention. In too many novels, the minutia of the character’s lives and their inane conversations seem to serve no purpose except to fill up the page. Oh, things do happen, but those doings aren’t worth suffering through those banal pages. Even the endings seem ho-hum, as if the authors themselves had lost interest.

I used to be able to read anything. Cereal boxes, ingredient lists, one-dimensional books, just . . . anything. I don’t know if the change was a result of all the time I spent reading and studying the multi-layered Wheel of Time, or if the change would have come anyway. Because of age maybe? Loss of patience for inanity?

Maybe I’m looking at the situation wrong. Maybe I should be grateful something keeps my attention, even if it’s a series I’ve read a half-dozen times before.

Or maybe I should settle down and try reading the Kingkiller Chronicle again. I’ve had the first two books in the Kingkiller Chronicle trilogy for some time now, but have never been able to get into it. From what I can tell, it’s another one of those series that people love because of the beautiful writing or hate because it’s poorly executed. Either way, they spend hours discussing the books online. Apparently, one of the major problems with the “trilogy” is that the author never wrote the final book, though some people think the writing is so great that it’s worth reading anyway. It’s a “framework” series, where the “frame” is the present day third-person story of an innkeeper, who tells stories of his past in the first person. I never did like that kind of book, and I really don’t like fantasy, but I have the books, so I might as well try again.

Unfortunately, since there is no ending, I can’t do my usual thing of reading the first part and skipping to the ending.

And if I can’t get into it, well, there’s always The Wheel of Time.

Or hey! I could write my own series about a tired old woman chosen to save the world from evil. Assuming that tired old woman cared — to write the books or to save the world, either one.

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Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One.

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An Alternative to The Alternative Ending to The Wheel of Time

March 17, 2026 — Pat Bertram

In yesterday’s blog, I postulated an alternative ending to The Wheel of Time that I thought more fitting than the published one, but in my own “wheel” universe, I only reread the first eleven books, so there is no ending, which leaves two possibilities for an alternative to that alternative ending.

The first possibility is foreshadowed in The Great Hunt where the main hero gets trapped in a time loop by one of the bad guys. He keeps living the same few minutes over and over again. He’d been determined never to use the power of the universe since the male half is tainted and ends up making men go mad. He doesn’t know how to use the power, anyway, since the power users who could teach him are three thousand years dead. Still, frantic, needing a way out of the time loop, he finally manages to reach the power and save himself.

So, one ending is that evil doers, who are told by some of their evil masters that they can’t kill the hero and told by others that they must kill him, end up trapping him in a time loop because they don’t know what else to do. Hence, the hero keeps repeating the same eleven books without ever finding a way out. He doesn’t even know he’s caught in a trap since it’s a loop of a couple of years duration rather than a couple of minutes, so he has no memory of what has gone before. But it’s a wheel, right? So what goes around comes around. Maybe forever. Or at least until I finish playing my own private Wheel of Time game.

The second possibility is foreshadowed in Lord of Chaos, where the Dark One asks one of his minions if he’d use balefire in his service. He also tells him to let the lords of chaos rule. In The Wheel of Time, balefire is an immensely powerful magic weapon that destroys targets by burning them backward in time, so the target, anything they’d done, and anything resulting from their actions is erased. In a previous age, both sides used so much balefire that it practically unraveled existence, so the use has been banned except, apparently, in service to the Dark One.

So, the second ending is that the minion, who was mostly offscreen where we never really saw what he did, follows the Dark One’s dictates and creates chaos using balefire, but he uses so much and for so long, that he erases everything that happened back to the moment where the first book began. Hence, as in the scenario above, the wheel keeps turning, replaying those eleven books over and over again. Sort of a takeoff on Dorothy’s dream where she ends up back in the same place she started but without the hero knowing it was a dream and without having learned anything.

It’s funny that I forget so much of what I read as soon as a book is closed, but I can’t forget those last three cringeworthy books by the substitute author. Perhaps someday, as the wheel turns, I will, but for now I purposely try to put any memory out of mind as it arises. And anyway, this current preoccupation with the books will eventually pass so none of it will matter. Except that I do own those last three books. I keep wanting to get rid of them, but I don’t. I don’t know why.

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Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One.

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Fool’s Game

March 15, 2026 — Pat Bertram

I spent a lot of time researching the final books of the Wheel of Time saga, trying to figure out what parts Robert Jordan wrote and what parts the substitute wrote. Since there was no one place for the information, I had to comb through hundreds of sites and interviews until I came as close as possible to knowing who wrote what.

It was all suspect, of course, because even the parts that Jordan himself wrote were added to by the substitute. Occasionally, the substitute added just a few words, but those few words sometimes changed the thrust of the scene or at least diluted it. And even when the substitute hadn’t changed parts that were written by Jordan, they would have been subject to change if Jordan been able to write the entire ending himself.

Jordan was both a pantster (one who writes by the seat of his pants, who creates and discovers the story as he is writing) and a plotter (one who outlines, who knows the story before he writes). He knew the major points he wanted to hit as well as the end to aim for, but the journey to get there wasn’t plotted out. Which means that even if he had written a significant scene ahead of time to give himself something to aim for, by the time he got to that scene in the writing, things might have changed. In the books he finished, that was often the case, so it would probably have been the same with the finale.

He had supposedly written the final scene while writing the first book, which is why the end seems somewhat sketchy (both in the meaning of not being fully drawn and of not being totally true). The woman who helped the hero at the end was never named, had never appeared previously in the story, and was someone the hero didn’t know because I think at the time he wrote that, Jordan himself didn’t know. And yet, through several of the last books Jordan did write, he was developing a character who was foretold as someone who would help, so I have a hunch by the time he reached the end, this woman would have replaced the unnamed one. And if not, it would have been a grievously misplaced use of Chekhov’s gun. (Chekhov’s gun is a principle where every element in a story should be necessary. As Chekhov pointed out, “One must not put a loaded rifle on the stage if no one is thinking of firing it.”)

Jordan did seem to delight in turning assumptions on end, and even though he said that not every prophecy needed to have a major resolution, still, to have a character who was fated to help the hero and who was central to other characters’ actions (they thought she would kill him), to end up simply having her place a pile of clothes and money aside for him to use if he happened to survive the last battle is not a big enough payoff for all the drama instigated by that prophecy, especially since the hero could have done that himself.

The point I’m trying to make, at least to myself, is that even the parts Jordan wrote are not canonical.

So, basically, for me, the entirety of the final three books are not worth the paper they’re written on.

I am beginning to see, however, why people revere the substitute so much. Not only do they prefer his style of writing (though why people would slog through millions of words of a saga if they didn’t like Jordan’s style, I don’t know), but otherwise they’d be left with the utter sadness of Jordan never being able to finish his epic. Sad for him, of course, and sad for us. I have a hunch his ending would have been visionary if not spectacular — all the issues readers had with his getting sidetracked had pretty much been resolved, and he was again focused on getting the characters to the last battle. Most readers, I’m sure, are just as glad not to have to contemplate what could have been and are willing to settle for what they were given.

Most. Not all. Not me. I keep thinking I should be able to figure out what the ending would have been because of all the clues Jordan had laced into the saga with foreshadowing and prophecies. The “hero’s journey” concept could be a clue, too, since that was a big part of the origin of the books, but in the end, it’s a fool’s game since there’s no way of knowing what would have come out of Jordan’s subconscious and what he would have discovered as he wrote.

Still, as a person who gets caught up in literary mysteries, I’m sure I’ll continue to do what I can to puzzle out the end, fool’s game or not.

 

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Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One.

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