Worldbuilding

Did you have a research process when you were writing the Inheritance Cycle? I put a fair bit of thought into the story itself of the Inheritance Cycle, and then some general stuff as to the society and just kind of where things were in the world before writing it. I put a medium amount of thought into the magic system before I started writing, and then as I wrote the implications of it became much more apparent to me, and I really sort of dove deep into it. In retrospect, were I to create a fantasy world from scratch now, I would really put a lot of attention into that magic system and the society beforehand, just to have a good feel for that before I even start chapter one. I would put more restrictions on the magic too. I think the more restrictions, the more interesting, even the more realistic in some ways. [3]
If I were designing a magic system from scratch nowadays I would put way more restrictions on it because I find that the limitations are useful, I don't want the characters getting overpowered, but also just from a storytelling standpoint, incantations, rituals, spells, prayers, potions, all of those mechanical things are just kind of interesting and of course they give lots of opportunities for things to go wrong if you don't follow the correct steps. So I think if I were designing magic from scratch right now I'd put a lot of restrictions and rituals associated with it. So costs, more costs. [25]
What kind of hacks do you have to developing a magic system? Once I have a general idea of the setting, whether science fiction or fantasy, the first question I ask myself is how does it diverge from physics as we know it? Because that is a fundamental question that's going to determine what is possible in this world. It might determine what's possible with warfare, with politics, with industry, manufacturing, travel times, it could affect everything depending on what type of divergence you have. In the World of Eragon, the divergence is that living creatures have the ability to directly manipulate energy using their minds. The reason for that is kind of handwavy, although I have an explanation for it, but that is the divergence and then I tried to be as consistent and physically possible with it at every step of the way past that. When people play games you always get people who are looking how to exploit it. "What's the most I can get out of this game? What's the most I can do?" That's basic human nature. Science is a speedrunning nature I think. So the same sort of thing. You assume that if magic existed there's going to be someone sitting in their basement who's absolutely obsessive about it and is going to figure out every single advantage that that divergence gives them. And you have to be realistic and work that into your world and say "Well people aren't stupid. They are going to figure this out and use it in this way, and what are the implications, socially, physically, and everything else?" Once I have that then you can think about society and culture and everything else, but that basic physical difference from our reality is just to me fundamentally important to understand before I even begin to write. [25]
With standalones you're not dealing with continuity or what rule did you break or things like that. That's interesting, because I would say that writing a sequel for me is faster than writing a standalone. At least for me, the more I know the characters and the world, the faster, like I don't have to do the groundwork of creating a magic system, creating a society, creating the gods and the history. All that's done for me, so I can just slip into it like slipping on an old glove. [33]

A socio-political religion in your world helps drive characters or stories or die-hard fanatic characters forward. How do you go about developing those? Have the courage to let your characters actually believe the things that they are supposed to believe. If you look back historically people really did truly believe these different religions and different systems. Too often I think with modern stories we have people only giving lip service to the supposed belief and instead having very modern attitudes toward it which perhaps doesn't always work. That's understandable if you want a character to be relatable to a modern reader, but there are so many examples of interesting belief systems throughout the world. To me that's something fascinating to write about. But the main thing is just accept that when people truly believe something they're genuine about it and then you can follow that from a logical and storytelling standpoint. What I'd also say is, if you're writing about something that is very different from your own belief system, assuming it's not like completely evil, to try to approach it with a sense of charity. With the understanding that everyone is searching for meaning and understanding. I've always had a soft spot for the old television show Babylon 5, because although I don't believe that the creator J. Michael Straczynski is religious, he writes all of his characters with great sympathy and understanding, he's never cynical about it, and he's not putting up straw man arguments or criticizing any of the characters. He's like "They're searching for meaning. They're struggling with the great questions as we all do, and each one is trying to solve those questions in their own way." And I always really appreciated that he wasn't being cynical about it or really shallow. [25]

Did you think of the ancient language, not just as a mechanic, but also as a parable of our own language? I was thinking about how language itself feels like magic to me. You can write a story, you can convey information. Language in many ways is our greatest tool and makes us human along with, I would argue, our hands, our ability to manipulate objects and use actual tools. But one without the other wouldn't really work and wouldn't allow us to be a technological species. We could have language with no ability to handle tools, and then we wouldn't be what we are now. But I find language fascinating and I find the function of language incredibly interesting. And there is this idea in the real world going back to the beginning of time, that to name something is to understand it, and gives you a certain amount of power over it, whether that's a person or a physical object. And the ancient language is just taking that idea seriously. And I'm not the first author or tradition to do that, but is it a parallel? Is it a metaphor? I don't know if I'd go that far, but it definitely ties into the use of language and my ideas about it. What's crazy to me is there is a theoretical arrangement of words right now that would give us a massive breakthrough in science and physics. There's a theoretical arrangement of words that were I to write it or anyone else would influence how people think about the next presidential election to such a degree that it might actually changed the election. These are all theoretically possible and you can think of many many other things that you could do with language. We just lack the knowledge of what those arrangement of words are, and so we're constantly clawing our way toward new knowledge and new uses of language. [19]
The languages that you were playing around with in The Inheritance cycle, they were Germanic, Anglo Saxon based? The ancient language, the magical language, is based very strongly on Old Norse, which of course is Germanic or related to Old High German. The Dwarven language was invented pretty much from scratch although it is an agglutinative language like German is. And then the other languages have not appeared very much in the series. They're just little scraps here and there. To be clear, I am not a linguist, and I have not devoted the time and energy to developing these in a formal or rigorous way, the way that Tolkien did. Tolken was a linguist and that was his forte. I got far enough down that path while working on the Inheritance Cycle that I really began to appreciate how every word has a history and that history is inexorably tied to the history of the land. It's often said that Tolkien created Middle-earth just to explain his languages, as a setting for the languages. Which isn't entirely true, but there is truth to that. That's what I was encountering and I was realizing that I could spend 20 years, 10 years, just working on the languages and building this out. It might have been a worthwhile venture, but the tradeoff would have been no more books published during that time. I want to tell a story. [28]
What I would do these days, or what I did with other languages, is come up with a couple of words that sort of had a general feel that I liked and then extrapolating from those invented words, figuring out what consonants and vowels and clusters thereof that I wanted. Come up with some more sample words based off that and then start working out some grammar. Grammar is probably my weakest spot since at the time I wasn't really aware of non-English grammar systems and I've put some more attention in that since then. [34]
The language and culture that you describe in the books seem very real. How do you start inventing a language? You shamelessly steal from Germanic mythology and Scandinavian mythology, just like Tolkien did. But I'm no linguist, I did my best, I have a copy of the Nibelungen up on my shelf along with the Eddas, and I based one of my languages on Old Norse, which gave it a nice sound and feel. So the main thing is picking things that make sense for your world and then trying to be internally consistent. [2]

At what point in your writing process do you start creating the map? I've created the maps at different times in different books. At first I thought I didn't need a map because I thought that a good book should be perfectly understandable without a map. You shouldn't need to rely on anything outside of the text in order to enjoy it. And I still think that's generally true, but a map can add a lot. So for Eragon, I did it partway through the book. If I were to do a stand-alone fantasy novel, I would definitely want to work out the maps and stuff before writing it. [12]
The map for Eragon, the original black and white map, I did about halfway or a third of the way into Eragon. My idea was, and I still kind of believe this, that a well-written book shouldn't need a map in order to understand the story. You should be able to keep your bearings just based off the text. What I ran into though was that I was getting lost in the world myself with the amount of places and things after a certain point. And so I drew a map. [34]
For me I think if you're creating something in the real world obviously that gives you certain constraints and certain advantages but if you're starting with something from scratch, I find creating a map right up front is really helpful because your story is not going to visit every square inch on your map so by filling in those other details on the map you're going to get more story ideas and also ideas for potential conflicts, travel distances. It all feeds into the realism of the story as well as potentially future stories. It's fun stuff. The downside is you could spend your whole life worldbuilding. There's a there's a book from World War Two called Islandia, and the guy just spent his whole life creating this island and its culture to the point of working out the actual layers of geography of stone in the island. I've never actually read the book, I don't know if it's any good, but I know it was fairly popular when it came out. [25]
What hacks do you have for for creating geography and points of interest within your world? When I was creating the map for Alagaësia I actually used a old National Geographic Atlas and traced over various coastlines and then distorted them and pasted on top of each other in order to get sort of a natural feeling coastline. Please don't compare the island of Vroengard to the outline of Greece. Please don't do that. And then you have Robin Hobb who just turned Alaska upside down for her map which I always love because I've lived in Alaska twice. I think she told me that she never actually expected the book to get published, but then she got stuck with that because everything was tied to the geography that she started with. [25]
I think that a good map ought to have lots of points of interest, and the tricky bit is, without getting so detailed that it becomes cluttered. You see that sometimes with real world maps, like atlases and stuff, where there's a ton of place names, city names, river names, road names. All of which are useful and necessary, but it can actually visually get in the way of the art, perhaps the artistic effect that you would want a fantasy map to have in a book or a movie or even a game. [12]
There are world generators that you can just click through. It's really easy nowadays with technology to build worlds just by snapping your fingers. Even with those tools, if you have the time and inclination, I think there is some benefit to redrawing or painting the maps in your own style. I don't know about you, I love seeing when the maps are from the author themselves. I remember Memory, Sorrow, and Thorn by Tad Williams. Tad did all the maps himself, and I love that. Even if it's imperfect or a little amateurish it just gives it a really nice feel. I love Tolkien's original art for the same reason. [25]

You are the creator of your own world. Do you feel that you have follow certain canons of fantasy worlds, for example, dragons have four legs and wyverns have two? Or do you feel that you can practically do whatever you want because it's fantasy and you create everything? Yes and no. No because I have already established rules and traditions and precedence in The World of Eragon, so I have to be consistent with that. But if I were writing a new fantasy, I would not feel beholden to any tradition. If I wanted to write a world where the dragons have three legs or feathers or something like that then I would feel free to do that. That's the great thing about speculative fiction is it gives you the freedom to write and create whatever you want to. The thing is when you have a genre where anything is possible it actually reveals the limitations of your imagination. And there are very few authors, myself included, who really make full use of that. But at the same time, limitations can make your fiction more interesting. I think it's important to pick some limitations and that will help actually improve the quality of your work. [7]
Why did you decide to have your dragons have a saddle? I was around horses growing up. And the thought of actually physically being on a creature with very hard scales was rather terrifying if thought about in a practical sense. And so it just seemed to me that there had to be some protection. [33]
When you're writing fantasy and you include dragons, especially a dragon rider fantasy, depending on how many there are there, it's actually quite a difficult thing to not solve all your problems with dragons. I think the solution to that is you focus on the problems that dragons present, which balances out the advantages. And of course people are smart, whether we're talking about humans or elves or dwarves or any other invented species. If dragons were real, you'd come up with counters to them, whether it's a bunch of giant ballistae on your walls, or building domed fortresses, or building underground. You would come up with solutions and it would negate those advantages. And that's always my issue with writing fiction with dragons in the real world. If it's a slightly more modern, then you have to ask, well, why isn't everything different in history? Like if dragons were a constant part of our world, architecture would be different, warfare would be different, politics would be different. Well, no, politics would be the same. What am I saying? [30]
I'm sure all of us have seen the fantasy paintings of like a knight in armor with a lance on a horse facing off against a dragon. Now, to be fair, a lance moving at a decent speed at a horse galloping will have enough kinetic energy behind it to punch through just about anything. It could do a lot of damage. But any decent sized dragon would move so fast and be so strong, you wouldn't have a chance with a lance. You'd need a giant crossbow. That'd be your only choice. The size of a dragon, intelligence of a dragon. Until you get to projectile weapons, you have no chance. [30]
We all know what any creature gets when they bond with a dragon. They get a dragon. But why would a dragon create that bond? Why would they do it? Is it the bond, is it their nature? I think for me, having other species bond with the dragons was essentially a way to keep the dragons from getting wiped out. Because dragons are such a huge threat. If you imagine in the real world, we don't suffer giant predators to be constantly predating and disrupting our world. We remove that threat. Especially if there's magic involved, the ability to remove that threat gets even bigger. So in a way I viewed the bond between rider and dragon as essentially self preservation for the dragons, if not the other species as well. Without some sort of symbiotic relationship, coexistence becomes very, very difficult. That, or the dragons have to be smart enough to just essentially remove themselves from the world and live off in the far off places. But that gets really difficult when you start considering how much they need to eat. I remember reading the Live Ship Trader series and I remember the end of that spoiler alert where it's become clear that true dragons have returned now. And it really was kind of an oh crap moment because you start thinking about what that actually means for there to be dragons in the world again. It's kind of like Reign of Fire. [30]

Promoting The Books

How did you do on your book tour? It was a lot. It was a lot. I did 50 days of touring last year between Fractal Noise and Murtagh. Obviously the majority of that was for Murtagh. And of course I had a couple other trips in there as well. I went to New York Comic Con. I had one or two personal trips. So there was a lot of travel last year. My goal is to not have as much travel this year. In general, the book tours were awesome, great crowds for the Fractalverse, enormous crowds for World of Eragon/Murtagh. I don't normally talk about this stuff, but since we're past it, it doesn't matter. I started touring for Murtagh November 6th and then got home for good on December 16th. But there's always a risk of getting sick while you're traveling. And I did pretty well in the US leg of things. And then over in Europe between the jet lag and not sleeping- I had a really amazing dinner, one of my publishers took me out to a three star Michelin restaurant. The problem was the dinner started at 8pm and didn't finish till midnight. And there were two or three desserts, and the last dessert was full of coffee, and I didn't realize it. Absolutely full of coffee. And I did not get to sleep until like four in the morning. And I only had three hours of sleep that night. So I think I got sick the day after as a result. I got so sick on the European tour that at one of my stops I had to call paramedics to my hotel room at 2 a.m. because I couldn't breathe. Ended up with bronchitis for the first time in my life. But I'll have you know, I did every event. I didn't miss a single event. I managed to do all my presentations and made it through in one piece. I've never, never backed down from doing an event, even while bleeding. Can you tell us a little bit about the time that you were bleeding in an event? Well, I was in Europe. I was touring for Inheritance, I'd already toured North America, and then I started in Europe, went to UK, and then I went to Australia and New Zealand. But first country was Germany, and I think I did Munich and Cologne, and then I ended in Berlin. And in Berlin, they had me in this wonderful theater that's like over 100 years old, which is very rare in the city, considering all the bombing during the war. And I'm backstage, which meant down in the basement of this theater. And there's like 500 people out waiting for me to make an appearance and there's someone introducing me and they say my name and everyone starts clapping. And of course you want to get on stage before the applause dies down. And the way you got onto stage in this theater was through a set of stairs. And it really wasn't even steps. It was almost like a ladder and it was wood. And the steps were so old that they were basically hollowed out from all the people that have gone up and down it over the years. So I'm scrambling up this and about halfway up, my right foot slipped off the edge of one of the steps because it was hollowed out and full speed, full strength, full weight, I slammed my shin into the edge of one of the steps, stumbled forward two more steps and did it a second time. But momentum, adrenaline, I keep going, I get up on stage, I waved to everyone. And fortunately for me, because I was speaking to a foreign audience, they had me sitting at a table with a translator and a presenter. So I got to sit down and the table kind of hit everything from view. And I start the presentation, start the event. And after about, I don't know, five minutes, I'm thinking to myself, okay, I've banged my shin before. We've all banged our shins before, but this really bleepin' hurt. So I looked under the table and the whole front of my jean leg on my shin is soaked with blood. There is blood dripping onto the floor and my sock is soaked with blood. So I poked my translator, the presenter next to me that I was doing a couple of events with, and I said, "Hey, look at this". And he glances under and his face just goes white. And I'm colorblind and I saw his face go white. And he said, "Do we need to call an ambulance?" And I'm like, "No, no, we're going to do this." So I did an hour-long presentation. And then I got up and managed to quickly limp over to a signing table. And no one really noticed that I wasn't feeling so hot. And I got behind the signing table, and I signed books for 400 or 500 people. And the funny thing is, I was traveling with this foreign rights agent publicist for Random House named Jocelyn, who was just an absolute beast of a woman. I love her to death. You have to understand, she did a European book tour with me while eight months pregnant. The woman was and is just very impressive. But she grew up on a farm. German family in the US, grew up on a farm. So I showed her my leg when I was sitting down to sign and she just looked at me and she said, "You need to go to the hospital?" I said, "Nope". She said, "I knew you were country. Good man." Slapped me on the back. So I finished signing and then I went back to the hotel and I had to get into a tub of water to soak my jeans off because the blood had dried and glued them to my shin. And the problem was I had a dent all the way down to the bone. And I really should have gone to a hospital because, sorry for the gory details, but what happens is when you get a dent like that, you lose the fat under the skin between the skin and the bone and it doesn't come back unless you get an injection to help it puff out and heal. And I didn't do that because I was on tour, there was no time. So the next day I had to fly to pretty sure it was Barcelona for the St. George Book Festival, which is a walking festival. So you have to walk from bookstore to bookstore in the city and do signings. But that was a bit rough. That actually took over a year to heal properly. I still have that dent. Stuff happens. I've heard some crazy stories with other authors. I'd rather it's my blood, not the fan's blood. [32]

We've got blood and sweat, any tears from tour? On occasion. The biggest one is just being away from home. And if anything is a bit off for whatever reason, you can't just pop home and hold someone or do this or do that. It's just difficult to be that far away from home for so long. [32]
If you're not familiar with book tours, the way it often works is that you fly to a city, you get to your hotel room, you have a little bit of time to freshen up, maybe get some food and then you go to the bookstore and you do your event. And it has to be after people get off from work, so it tends to be a later evening event. If you have a large number of people show up, that means that that time spent talking and signing pushes fairly late in the evening. You go back, you get dinner, and if you're a semi-introvert like so many authors tend to be, you need some time to decompress, which means you probably stay up a little too late reading or writing. And then in the morning, you got to go get another airplane flight and go to the new city. All of which is fine, but going to the airport, doing those flights, with the time it takes to go through an airport these days, it means that the schedule has very little time in it. When I toured for Fractal Noise, the publisher one of the days had me fly from Tampa to Portland and I still had to do an event that day. Which I agreed to. It was my own fault because they had everything on the East Coast and I said, "Well, what about the West Coast? You know, I have readers on the West Coast. They need to get a chance to get a signed book." It was my own fault. But that can get rough when you're doing it for weeks on end at a certain point. You just can't recover. A day off? What's that? But it's a good problem to have. That people want to see you and want to read your books. It's an awesome career to have. [1]
I'm also a big fan of coffee naps. So I will drink a cup of coffee, usually my second cup of coffee, and then I'll go take a nap, and I will nap for about 30 minutes, because after 30 minutes the coffee wakes me up. And I find that 15 to 30 minutes is the perfect length of a nap for me, and if I go past that, I need to sleep for about three hours, because otherwise I get into the middle of a REM cycle, and if I wake up in the middle of a REM cycle, I'm just like groggy and drugged, and I feel worse than if I hadn't napped at all. And then of course, if you're on book tour, the way I have been for a while, you gain the ability to just close your eyes at any point and take a 10 minute nap 15 minute nap anywhere, and it at least helps you stay upright. [19]

You just got back from the U.S. leg of your book tour — who’s making up the crowd? The readership is broad and probably older than it was back in the day. There are still a lot of 8-year-olds, but now there are grandparents, too. I’ve even met some kids who’ve been named after the characters, which is pretty amazing. Because people have been reading the series for so long, I tend to get a mix of incredibly detailed, hyper-focused, deep-dive questions about some of the lore, but also some more general ones about Eragon’s name. [16]
I'm sure you hear personal stories all the time especially at your readings and your your appearances. It must be lovely, and I guess overwhelming to connect with your fans. That's a good way of putting it: lovely and overwhelming. Everyone has their own personal history with these books. I have people showing up who named their children after the characters, or who've gotten tattoos. Oh my goodness, what's the one you get? Multiple Saphiras, Aryas, Rorans, a couple of Eragons. As a writer, you want people to read your stories, enjoy them, be affected by them. If they're affected so strongly they name their children after your characters, you feel pretty good about it. [28]
Are your European fans different from your American fans? I actually haven't met any children here who are named after characters from my books. That seems to be an American phenomenon. The language barrier sometimes makes it a little more difficult to talk to European fans. But the love for Eragon is just as strong in Europe as it is in the US. This is not your first time on tour in Europe. Is there something you're missing here? I actually noticed that hotels in Europe usually don't have ironing boards or irons. This is standard equipment in America. [24]
My great-grandmother was from Sicily and then my grandfather was from Bologna. I just found out recently that my grandfather as a child was tutored by Fellini's wife. [7]
My grandfather was the stereotype of an elderly Italian gentleman. He had a mustache, he cooked spaghetti and he made the most amazing red sauce for the spaghetti. He used too much profanity. He was quite the character. [35]
Amsterdam is a beautiful city, but if I had grown up here I would probably still have written fantasy, but it would probably have influenced the type of fantasy I write. [23]
I was just in Stockholm on book tour for my latest book. And I've sold a really large number of books, proportionally in Sweden, and I'd never been there before. And I was kind of curious what their thoughts and feelings were on it, given the fact that I have shamelessly pillaged, Anglo-Saxon Scandinavian mythology for my own work. And they said native Swedish authors don't write using their own mythology, they go into the more literary veins and they import and translate other authors who are writing about Scandinavian mythology and they enjoy it immensely, but it doesn't seem to be a homegrown thing for them, which is rather odd, I think. [30]
Old Norse is not so far from German, do you speak a little bit of German? I understand a fair bit. When I've done presentations in Germany, I've had children ask me questions in German, and I can sometimes understand the entire question without translation, but I only speak a few words. [Host 2]: Let's try it. Can you ask the next question in German? Of course. Oh dear. [speaking quickly] Herr Paolini, wie viel von ihrer Vision für die ganze Serie hat sich mit der Zeit verändert? Hat es sich überhaupt verändert? Denn wenn man sich die frühen Werke anguckt, erkennt man, dass sehr viele Sachen aus den frühen Werken in den späteren wieder auftauchen. So dass es eigentlich unmöglich sein kann, dass sie das nicht von Anfang an komplett geplant haben? Translation please. That was not fair. But funny. Yeah, I was just asking, when you started writing the book, and it became not just one book, it became a whole world, it became a series, and I don't want to spoil anything, but if you read the first books and you read the later books, stuff comes up again, and it seems like you actually knew where it was going when you started writing, which is again insane because you were 15. Is that something you just got lucky, or did you really plan for a whole series when you started writing the first one? I planned because I tried writing some stories before Eragon, and I never got past the first five or ten pages because I didn't have a story. I would only have an inciting incident, like a young man finds a dragon egg in the forest. Well, fun, awesome, but that's not a story. So Eragon and the series as it was, was a writing exercise for myself to see if I could outline, plot, and then write at least the first book of a series. So yes, if you read the first book, Eragon, there's actually a scene, a dream sequence in the first book. And it is the very last scene of the last book. And I did that specifically so that I could point to it and say to my readers, "See, I knew what I was doing." But of course, it isn't the last book now. [2]
Before he finished signing them all he asked if I read Fractal Noise, I said yes. He then asked how I liked it. I said I liked To Sleep far more. And to be fair I did. But I could've been a little more less brunt about it. All in all I'm sorry Paolini. I hope you see this. Dude -- No need to apologize! I was the one who put you on the spot. I was just curious about Fractal Noise as it's pretty different from what I normally write. That said, I'm a big boy, and it doesn't bother me in the slightest if someone prefers one book over another. [R]
Have you been on TikTok? How do you find it? I have an account that my assistants post content on for me because I don't have the time and I don't want it on my phone, but it has been a really useful way to connect with readers, and I had a lot of people who came up during my book tour end of last year, who said that they found out about the events I was doing from the posts on TikTok. [33]
Outside of the tour, did you do anything to personally celebrate the release of Murtagh? No. Not to sound blase, but this isn't my first book I've released. Going on the tour is the celebration. Getting to meet the fans. It's an enormous expenditure of energy, time, effort, and it's very joyous and touching and meaningful for me. And I think for a lot of the readers. So that's the celebration. My team and I, we all kind of take a moment to pat ourselves on the back every time a book comes out and then it's back to the grind a bit. Also, I got to celebrate my 40th birthday while on book tour, and I got to celebrate it with my editor, my publicist, my former publicist who's been with me since the beginning. So that was really nice. [32]

Being an author is like the best kind of semi-celebrity, because nine times out of ten, no one knows who you are, you can live a nice quiet life, and then you get to go out and meet people who like your work. And that's a real treat. I grew the beard partly to keep people from recognizing me. But then I've had it for so long that it doesn't work anymore. And I got tired of shaving. But the problem is the beard takes so much time and effort to take care of it, it doesn't save me any time. [1]
Did your hat end up getting fixed post-tour? Yup. Fixed it myself with a rivet. [T]
Any advice on how to wear a pirate's hat without it being weird? It's very simple. There's one ingredient. You wear it with confidence. That's all. [36]

People people don't maybe don't realize what an endurance race it is, especially when when books are this big and successful. Like the amount. I once did 9,280 books in an afternoon and a half at a warehouse. I had nine people helping. I stood. I find that if I stand, I don't use my wrist. I can isolate the arm. And I just had someone shove it under me, someone pull it out for me, and everyone else was boxing, unboxing and flapping. But it hurt. It really hurt. I dropped my first name this past year. For the first time in a 20 year career, I finally dropped my first name. Did you feel defeated? Yes. But I have kids now and I just could not afford the time and the strain on my body. I actually got two typewriters. I got really bad inflammation in my right thumb from all the signing and I find that typewriters alleviated that. Also heavier like mechanical keyboards seem to help. So I know like Robin Hobb has suffered some severe problems with her hands with the amount of typing she's done over the years. So yeah, it is an occupational hazard. [33]
I have to say, signing 30,000 sheets is SIGNIFICANTLY harder than mining or placing 30k blocks in #Minecraft. Lol. [T]
Do you have a PO Box or something? I’d pay shipping both ways to have you sign my books. P.O. box is listed on paolini.net. Just include return shipping, please. :D Alternatively, you can arrange signed copies through Conley's Books & Music in Livingston, MT. [R]
If I send a book to a P.O. Box and pay for shipping there and back, would you sign it? Yup. Address is on paolini.net [T]

Elaboration

• The ADL - Israel: A Guide For Activists

A bi-national state, in principle and in practice, would mean the ideological end of the Jewish State of Israel and lead to the forsaking of Jewish nationalism and identity, along with its special status as a refuge for Jews fleeing persecution.
Furthermore, bi-nationalism is unworkable given current realities and historic animosities. With historically high birth rates among the Palestinians, and a possible influx of Palestinian refugees and their descendants now living around the world, Jews would quickly be a minority within a bi-national state, thus likely ending any semblance of equal representation and protections. In this situation, the Jewish population would be increasingly politically – and potentially physically – vulnerable.
It is unrealistic and unacceptable to expect the State of Israel to voluntarily subvert its own sovereign existence and nationalist identity and become a vulnerable minority within what was once its own territory.

• Alarmism about 'birth rates' = ✅
  
• Alarmism about immigration = ✅
  
• Alarmism about the demographic majority becoming a minority and losing its privileged status = ✅
  
• Equating the privilege of being a demographic majority with 'sovereign existence' (which in-turn negates the existence and/or concerns, agency, progress, etc. of the Out-group) = ✅
  

Request:

OOP: I do realize this now. I'm working on everything you mentioned I just hope everything works out well. Thank you 🙏🏻

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