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She sighed, sitting down in the chair and laying her satchel on the desk. She undid the laces on her satchel, busying herself as she tried to think of something—anything—that would persuade Jasnah.
First, she decided, I need to clear my mind.
From her satchel she removed a sheaf of thick drawing paper, a set of charcoal pencils of different widths, some brushes and steel pens, ink, and watercolors. Finally, she took out her smaller notebook, bound in codex form, which contained the nature sketches she’d done during her weeks aboard the Wind’s pleasure.
These were simple things, really, but worth more to her than a chest full of spheres. She took a sheet off the stack, then selected a fine-pointed charcoal pencil, rolling it between her fingers. She closed her eyes and fixed an image in her mind: Kharbranth as she’d memorized it in that moment soon after landing on the docks. Waves surging against the wooden posts, a salty scent to the air, men climbing rigging calling one another with excitement. And the city itself, rising up the hillside, homes stacked atop homes, not a speck of land wasted. Bells, distant, tinkling softly in the air.
She opened her eyes and began to draw. Her fingers moved on their own, sketching broad lines first. The cracklike valley the city was situated in. The port. Here, squares to be homes, there a slash to mark a switchback of the grand roadway that led up to the Conclave. Slowly, bit by bit, she added detail. Shadows as windows. Lines to fill out the roadways. Hints of people and carts to show the chaos of the thoroughfares.
She had read of how sculptors worked. Many would take a blank stone block and work it into a vague shape first. Then, they’d work it over again, carving more detail with each pass. It was the same for her in drawing. Broad lines first, then some details, then more, then down to the finest of lines. She had no formal training in pencils; she simply did what felt right.
The city took shape beneath her fingers. She coaxed it free, line by line, scratch by scratch. What would she do without this? Tension bled from her body, as if released from her fingertips into the pencil.
She lost track of time as she worked. Sometimes she felt like she was entering a trance, everything else fading. Her fingers almost seemed to draw of their own accord. It was so much easier to think while drawing.
Before too long, she had copied her Memory onto the page. She held up the sheet, satisfied, relaxed, her mind clear. The memorized image of Kharbranth was gone from her head; she’d released it into her sketch. There was a sense of relaxation to that too. As if her mind was put under tension holding Memories until they could be used.
She did Yalb next, standing shirtless in his vest and gesturing to the short porter who had pulled her up to the Conclave. She smiled as she worked, remembering Yalb’s affable voice. He’d likely returned to the Wind’s Pleasure by now. Had it been two hours? Probably.
She was always more excited by drawing animals and people than she was by drawing things. There was something energizing about putting a living creature onto the page. A city was lines and boxes, but a person was circles and curves. Could she get that smirk on Yalb’s face right? Could she show his lazy contentedness, the way he would flirt with a woman far above his station? And the porter, with his thin fingers and sandaled feet, his long coat and baggy pants. His strange language, his keen eyes, his plan to increase his tip by offering not just a ride, but a tour.
When she drew, she didn’t feel as if she worked with only charcoal and paper. In drawing a portrait, her medium was the soul itself. There were plants from which one could remove a tiny cutting—a leaf, or a bit of stem—then plant it and grow a duplicate. When she collected a Memory of a person, she was snipping free a bud of their soul, and she cultivated and grew it on the page. Charcoal for sinew, paper pulp for bone, ink for blood, the paper’s texture for skin. She fell into a rhythm, a cadence, the scratching of her pencil like the sound of breathing from those she depicted.
Creationspren began to gather around her pad, looking at her work. Like other spren, they were said to always be around, but usually invisible. Sometimes you attracted them. Sometimes you didn’t. With drawing, skill seemed to make a difference.
Creationspren were of medium size, as tall as one of her fingers, and they glowed with a faint silvery light. They transformed perpetually, taking new shapes. Usually the shapes were things they had seen recently. An urn, a person, a table, a wheel, a nail. Always of the same silvery color, always the same diminutive height. They imitated shapes exactly, but moved them in strange ways. A table would roll like a wheel, an urn would shatter and repair itself.
Her drawing gathered about a half-dozen of them, pulling them by her act of creation just as a bright fire would draw flamespren. She’d learned to ignore them. They weren’t substantial—if she moved her arm through one, its figure would smear like scattered sand, then reform. She never felt a thing when touching one.
Eventually, she held up the page, satisfied. It depicted Yalb and the porter in detail, with hints of the busy city behind. She’d gotten their eyes right. That was the most important. Each of the Ten Essences had an analogous part of the human body—blood for liquid, hair for wood, and so forth. The eyes were associated with crystal and glass. The windows into a person’s mind and spirit.
She set the page aside. Some men collected trophies. Others collected weapons or shields. Many collected spheres.
Shallan collected people. People, and interesting creatures. Perhaps it was because she’d spent so much of her youth in a virtual prison. She’d developed the habit of memorizing faces, then drawing them later, after her father had discovered her sketching the gardeners. His daughter? Drawing pictures of darkeyes? He’d been furious with her—one of the infrequent times he’d directed his infamous temper at his daughter.
After that, she’d done drawings of people only when in private, instead using her open drawing times to sketch the insects, crustaceans, and plants of the manor gardens. Her father hadn’t minded this—zoology and botany were proper feminine pursuits—and had encouraged her to choose natural history as her Calling.
She took out a third blank sheet. It seemed to beg her to fill it. A blank page was nothing but potential, pointless until it was used. Like a fully infused sphere cloistered inside a pouch, prevented from making its light useful.
Fill me.
The creationspren gathered around the page. They were still, as if curious, anticipatory. Shallan closed her eyes and imagined Jasnah Kholin, standing before the blocked door, the Soulcaster glowing on her hand. The hallway hushed, save for a child’s sniffles. Attendants holding their breath. An anxious king. A still reverence.
Shallan opened her eyes and began to draw with vigor, intentionally losing herself. The less she was in the now and the more she was in the then, the better the sketch would be. The other two pictures had been warm-ups; this was the day’s masterpiece. With the paper bound onto the board—safehand holding that—her freehand flew across the page, occasionally switching to other pencils. Soft charcoal for deep, thick blackness, like Jasnah’s beautiful hair. Hard charcoal for light greys, like the powerful waves of light coming from the Soulcaster’s gems.
For a few extended moments, Shallan was back in that hallway again, watching something that should not be: a heretic wielding one of the most sacred powers in all the world. The power of change itself, the power by which the Almighty had created Roshar. He had another name, allowed to pass only the lips of ardents. Elithanathile. He Who Transforms.
