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What's your favourite Cosmere character, and why?
Nazh, because he's basically a grumpy Scotsman with a penchant for finding very-hard-to-find things.
Well, now I'm looking forward to seeing more of him.
Do you know when (if ever) he'll end up having more of a screen (page?) presence?
Thanks! We will see more of Nazh, if everything goes as planned. I hope you will enjoy!
Your input on the Cosmere goes beyond just the art—you wrote some of the Mistborn Era 2 broadsheet articles. Is there any plan for you to write more small-format things like that, continuing Nazh’s errands for Khriss?
I wrote the Allomancer Jak story from Shadows of Self and the Nicki Savage story for The Bands of Mourning. Currently, we have an origin story for Nazh planned, which takes place on Threnody, as well as a few stories with Nicki Savage plotted out. It’s likely Nazh will probably show up again to torment her with his enigmatic grumpiness.
Nicki’s broadsheet story reads like an old serialized novel. In-world, she’s writing these things to be very sensationalized and bends the truth of true events to fit the needs of her story and to entertain her audience. Nicki’s novella is mostly plotted out. I just need to write it. It won’t be a first-person sensationalized newspaper serial, but the epigraphs will have pieces of the sensationalized stories. So you’ll read a chapter, and then the epigraph of the next chapter will be her sensationalized version of what happened in the previous chapter.
A new Mistborn Era 2 novella—that’s awesome! Do you have any of your own writing projects going, which you can talk about?
Most of my own writing right now is in the Cosmere. I’ve been hard at work on some fun things for Taldain that we can’t quite announce yet, but I’m bursting at the seams wanting to share the cool things that are going on there. Rest assured that as soon as we’re able, we’ll make some announcements.
The glyphs don't really relate to pronunciation. You learn them by seeing the glyph and knowing what the word is for that. But the people, the people who create the glyphs have a different process from ones who read them.
*inaudible*
It can be pretty challenging to draw the glyphs. We usually go through several different iterations of different looks of things before we come up with something that we like.
Nazh writes that "spren fishing" is illegal in Ravizadth. What exactly is spren fishing?
It is the act of forcefully attracting spren in Shadesmar for your own purposes. For example, you know how when Adolin is genuinely afraid there, his fear attracts fearspren naturally? That's okay. But if someone were to engineer situations that would attract certain kinds of spren because they wanted to make use of those spren - for study, or other reasons - that would be "fishing". If spren have formal ethics, this would be unethical.
So this has a lot to do with consent? Drawing spren naturally is part of how spren work, but forcing them to come, that's a no-no?
Pretty much.
Hey, I am curious - have you and the rest of Team Sanderson figured out what the Dawnchant looks like in writing?
There has been some discussion on this. :)
His coyness is rubbing off on you :) I wasn't trying to be sneaky though, legitimately just wanted to know if you guys have an idea :)
I have some ideas. Nothing canon yet. :)
How much electricity stuff will we see later?
I’ve left that up to the graphic novel writer and artist. Because there’s a lot of this in the outline, and it’s a really weird Brandon world, that those are harder for people to deal with than I’ve realized. Like, making that sort of thing work is one of my personal quirks. And they came to me (and actually Joe Straczynski came to me, too), and they’re like, “This is really hard to figure out what you wanted us to do with this.” And I said, “Just go your direction on that. I understand that this is a very weird Brandon-style world and magic system. I am okay if you downplay a little bit.” So that’s gonna be up to them, honestly. It is really weird. And I am okay with people… “weird” is the wrong term. It’s very individual to me, the way that I approach this.
And you see it in White Sand, too, unfortunately. We had this same problem with White Sand. If you read the novel of White Sand, the worldbuilding is really out there in a lot of places. People are shooting water at each other and making beetle-shell armor and doing all kinds of wacky stuff in a very Brandon-style “we’re going to use the resources, economy, and worldbuilding of this place to really influence the way they have battle, the way they live their lives.” And that’s just really hard for someone to adapt. And I misjduged how hard that would be for someone to adapt on White Sand.
And so, with Dark One, I’m letting them have some flexibility there. I wouldn’t expect it to go too much in the graphic novel.
I would say that we might see hints of that in the future, where you can look at it and say, “Oh, this was Brandon’s weird world was the seed for certain things that may happen.
Teslatopia.
I’ve talked to the writers a little bit about that. I think there are plans for smaller things, but I don’t know what the extent.
You’re not gonna get a Roshar style “every aspect of the world is built around the idea of the storms” sort of thing. It is just something that comes very naturally to me that is actually much harder than I realized it was.
What writing system are the squiggles around the circumference of Oathbringer's Oathgate map? Do they have any relation to glyph components?
The squiggles are related to Dawnchant. Probably several generations later as the script started to evolve. And yes, they have a strong relation to the glyph components that we start seeing through cultures later on.
What do they actually say? Silver Kingdom names?
I think someone somewhere has figured out what they say exactly, but you're on the right track.
What's the process of making a map? How much info does Brandon give, and how much do you adapt it to yourself?
I think there's a lot of give-and-take on our maps, really. You give me a lot of freedom. And really, I just come up with something nowadays that fits once I've read the book, and then we just adjust from there until it matches, it works for you and it works for me.
Knowing that I don't have to do all of that, there's one thing that I can basically outsource, right? There's somebody I trust who is able to do a really good job with this. Frees my brain to think about other things. These days, I just let Isaac work his magic, and know that, at times, I'm going to have to revise the text to actually make it fit.
We do that sometimes. If we get a piece of art that somebody did something cool in it, but it wasn't necessarily in the book, but we like it, he'll oftentimes go and change the description a little bit to match, if we think it works a little better.
I did that for the Elantris cover, way back when Stephan Mantiniere gave me the cover. I was like, "Ooh, readers would ask 'Where is this cover scene?'" So I actually put the cover scene into the book.
At one point, we were going to do little sketches in Mistborn, and then we decided on just symbols. But there were going to be little sketches in front of the parts.
So how did you move away from sketches into the current symbology that we have?
I honestly think that I just wasn't good enough an artist at the time (maybe not even now) to pull off this sort of illustrative thing that we wanted to do, so it kind of morphed into symbols instead.
How's the Nicki Savage story going?
Thanks for asking about this! The Nicki Savage story has been plotted and planned and is almost ready to be written. It was derailed for the time being, however, by Taldain needing a little love.
Are you going to tie that to the events of any of the existing Mistborn (or Cosmere?) stories, or will it be like the Allomancer Jak ones, where it exists in isolation?
The Nicki Savage story I've got currently planned deals with Nicki in the real world as opposed to her serialized persona. While it's not in the main sequence of novels, it is not as isolated as the Allomancer Jak stories.
I tweeted Brandon and Peter last week about you writing a cosmere novel. Can you give an idea about what it would be about?
Hi! The book is already plotted, though it will have major changes before writing begins. Let me ask Brandon what I can say.
FYI, this might never happen. Even after the writing, the book will have to be very good before we'd ever release it.
Alright! Well we love your work and I for one can't wait to see more of it, whether it be drawn or otherwise!
Thank you! I've thought some on this, and I think we're too early on to release details. When there is news to share, I will!
Hey, speaking of art. Was the mathematical inspiration behind Roshar's map your idea, or Brandon's?
Brandon's.
Ah, that might be a bummer. I was hoping to figure out the exact formula used to generate it so I can do some animation stuff.
Sorry...I'm afraid I don't know the formula....
Nicki Savage novella (Wax & Wayne era) is currently being written by Isaac Stewart. Called Boatload of Mummies
Isaac is also about halfway through his Nicki story.
With the maps. How much influence do you get in the creative process of building those worlds?
So, Brandon's actually really good about being collaborative on the maps. There are definitely things that he wants in there. There are definitely things in the maps that he has said, "These need to be there," and there are places where he gives a lot of creative freedom. There are some places on the maps that are named, that I got to name. Which is kind of cool.
And it depends on the map, too. Like, he can tell you what he got for Mistborn. What did you get for Mistborn?
Brandon gave me a picture that was drawn in MSPaint in, like, three colors. And just, like, "Stuff is here." Couple of names, but the basic directions are right. There was no map for Luthadel. I came up with that one, and then he used that to make sure everything was right in the book. So, it kinda goes both ways.
But then, Way of Kings, I actually handed him a picture and said, "Here is the shape. And here are [where] all the kingdoms. Now you can work on actually making it look like a map." But I gave him the exact shape. So it does vary, but a lot of times it'll be, I'll say, "Hey Isaac, look at this cool map I found online. Let's do something like this." Or a few months ago, he was in Europe. You were in Rome, right? You'd seen some maps that hang in the Vatican. And he said, "I wanna do one like this." And that became your back endpage for this book. Was he wanting to do a map like he had seen hanging in the Vatican for our world. And it's actually a painting on a roof that he did. So if you open up and look at the back endpage [of Words of Radiance], it is a roof that he has painted as if it is a roof in something like the Vatican.
Will we be seeing an updated Cosmere star chart or system charts for these new words [from Secret Projects]?
I imagine that we'll eventually have a star chart that has these new worlds on it. I don't know when that will be, but it's something that's been in the back of my head.
Maybe if we ever get around to Arcanum Unbounded 2, but I need to write more short fiction that could go in that before we could do that. One fun thing is: if you look at the Kickstarter page, there's that nice illustration of Hoid--also done by Howard Lyon--and in the background you will see some stars. Hmm? The new ones aren't in there yet.
At least, not labeled yet. For people who don't know, I have a 3D model that a while back we said "okay, how many stars are in the Cosmere, what kind of a cluster is this?" And we talked to Peter and Brandon and we kind of brainstormed some things. So I built a 3D model that helped me create that first star chart and I have the main worlds like Roshar and Scadrial are named in there, but there are other ones that I just put in there in places to look good and try to figure out how would constellations work and things like that. So, we just have to go in there and name some of these if they're in the right spot. Or add them.
I was just kind of wondering how long the art process takes like would Alcatraz be out next year?
The art places is really going to depend on how long Hayley takes. It's probably going to take at least a year. I think the earliest you would see it would be around the time we release the next Stormlight book. That would be my guess.
With the latest maybe May of 2021. Yeah. Like mid-2021.
It's going to depend on her schedule for doing the art now that we have the book. You could give it to her, if you haven't already, to read.
Yeah. I talked to her about it today.
I was gonna ask you for advice on writer's block.
Advice on writer's block, all right. My experience is that with writer's block, write anyway. Even though you don't feel like it ,you will write yourself through the writer's block nine out of ten times. And if you don't know what to write, that's not a problem. The way to get out of writer's block is to start your subconscious thinking about it. So, if you like to say, "Ninjas are attacking." Just do something. Write it the wrong way first. A lot of newer writers have a lot of trouble with writing something that's not gonna end up in a book, when they know it's broken. But if you write it anyway, your subconscious will be like, "Oh, what was wrong was, I had the wrong viewpoint for this." Or "Oh, I really need to be pushing from this character's motivations" or something. And if you just write this chapter poorly, you'll get that. And, one out of ten times, you'll do that, and you'll be like, "What was I worried about? This chapter turned out great! I should have had ninjas attack. This is how my book is now." Best thing is to do that, and kind of turn off your internal editor and just learn to go.
How do you get past writer's block, Isaac?
How do I get past writer's block? Caffeine. What I have found is I just have to bully through it. Reread what I wrote before, think about things, maybe do some bullet points of what you've seen that came before that, where I wanna get. Sometimes I skip ahead and write a scene that I really want to write.
Yeah, that helps, too. Or saying, "Okay, the scene that I'm trying just isn't working, let's just put it in a completely new location that's exciting and interesting to me."
If you have several different points of view, try a different point of view for that scene if that person's there.
And if it's the "I don't know what to write at all" writer's block, then just do something silly and goofy, 'cause you're practicing your skills, right. If a pianist doesn't know what to compose, they'll just sit down and play something to get themselves going.
I am interested to know the concept behind the cosmere symbol in [Arcanum Unbounded].
This came about after about a dozen or two other sketches, some more complex, some less. Some more laden with meaning; some less. We wanted something simple and evocative of the cosmology. There IS some symbolism here; see the 16 points on the inner star....
The thoughts are the 16 points are Adonalsium, the 3 shapes around are the 3 realms. The other is that the symbol is meant to represent the movement of the shards throughout the cosmere.
Each point you mention is something I considered when designing the symbol and intentionally built into it. Glad people are seeing it!
If you guys don't know who Nazh is, Nazh is the person who annotates all the maps and pieces of art in the Stormlight books. The affectation is that the Ars Arcanum for the books and a lot of the illustrations are things that have been collected or put together by Khriss and [Nazh]. You describe Nazh as "grumpy James Bond," who is sent into the world to grab artifacts for Khriss when she's putting together kind of her guide to a world in the cosmere.
I've discovered a lot more about Nazh in the last year, just because we're getting closer to including him in more things. Right now, his personality is "grumpy James Bond" because he goes on missions, he's kind of a grump... but he kinda likes that sort of thing - he likes going off on his own, figuring out ways to do things. He has a specific skill set that works really well for this sort of thing.
But things kinda go poorly for him most of the time.
Yeah. I wouldn't say he's a Mr. Bean type character, but if you imagine the situations that he gets into, they're those sorts of things - but usually not funny, though he may tell them in a grumpy, funny way later on.
Basically, as Hoid is to me, Nazh is to Isaac. This is very fun because he can write all these annotations on the artwork, and you'll see Nazh popping up in the books now and then, just as cameo references to this guy. The affectation is the text of the book like The Way of Kings is not something that they have in-world, but all of the art in the Ars Arcanum they do, and those are produced by Khriss and Nazh.
The stamp-like glyph at the bottom corner of the "Ironstance Scroll" artwork in Words of Radiance is the symbol of the Calligrapher's Guild. It uses the phonemes from "Isaac", but doesn't phonetically represent that.
I thanked Isaac for explaining that rather mysterious glyph, and asked if he could say anything about the even more mysterious glyph that has appeared in every book so far.
I don't know what it means, but that Brandon has asked me to put it in several places. Compare it to the Calligrapher's Guild glyph. "That's all I'll say."
I'm really curious about Boatload of Mummies because Brandon did mention on his updates that you'd worked on it for NaNoWriMo for the past couple of years which is really cool. And the title is incredible. I don't know if that's gonna be the final title, but that's what it's always been referred to. How have you been doing with that?
Thanks for asking us. It's a project that I love. So I finished it. Finished a draft in September of last year. It's rough. It's a really rough draft. There's a lot of things that I'm still working through. I'm trying to narrow down the shape of the plot in a way because there's a little bit of--it wasn't inspired necessarily by these things, but it was after the fact that I realized, "Oh, it's part this, part that." It's sort of begins King Kong, if you imagined getting people on a boat. And then it continues as Death on the Nile. Then you get to a portion on an island. And then it ends The Mummy. And throw in a healthy dose of Venom. So it's like, "Okay, am I doing too much here?" And that's kind of where I'm at. You know, is this even a thing? Have I thrown too much in? Is this too much of a storyline? And i don't think it is. It really is in the end kind of a Raiders of the Lost Arc sort of story. You could pull out those some of those same elements and say, "Raiders of the Lost Arc starts out King Kong." But the basic plot line is there. There's going to be scenes in the current draft that are basically finished. I don't think they're going to change too much from the version that it is right now to the end.
Will it be called Boatload of Mummies? Probably not. I can't see that as a title of a Cosmere book, right? But we can affectionately call it Boatload of Mummies as long as we want. The working title is Book of Nails. And whether there's a series title or not, we'll have to figure that out if it's a story that people want to continue learning about.
But let me tell you Nicki Savage is so much fun to write. Don't expect exactly what you get from the broadsheets because she is writing to a particular audience, and has learned some skills from Allomancer Jack--though I do think Allomancer Jack's stories might be closer to the truth than Nicki's are.
You will see parallels between this story and some of the elements that are in the broadsheets. But she's basically: if you can imagine a Mary Poppins. who is incredibly interested in the supernatural, and is not afraid to beat up people. That's basically your character right there. And she's just, she's a load of fun. A boatload of fun.
I imagine from what you've said that you still wouldn't be ready to give us what could eventually function as a back of the book blurb?
During the first NaNoWriMo that I worked on it we had to come up with our elevator pitch on that, and I wrote the Readers Digest, TV Guide version of it, and it was "A woman with a strange, magical power journeys to an island to find a mythical book that might raise the dead." Something like that.
This particular book is interesting because... How do I pitch this when it's a spin off of a different series. It's a spin-off from Mistborn, technically. But it's not a Mistborn book. You can't pitch that to somebody who doesn't know Mistborn. And that's been some of the fun in trying to figure this out is "How do I tell a different story here, but then have to reintroduce how Allomancy works? But now in this era, we know about Allomancy, we know about Feruchemy, we know about Hemalurgy. We have crossovers from other worlds. How do you write this book without confusing somebody entirely without... "There's like 50 magic systems in here, and I don't understand." And that then goes into the pitch. How do you pitch this book? People who know the Cosmere, you just say it's set on Scadrial, but it's not really a Misborn book. It's just hard to encapsulate and someday I'll figure it out.
How has Isaac’s writing been coming along?
I have been doing worldbuilding for Darkside.
We’re thinking, Isaac has been very interested in doing some cosmere stories. So we are going to, at some point, have Isaac write in the cosmere. We’ve talked about Mistborn stuff, we’ve talked about Threnody stuff, we’ve talked about Taldain stuff. Something along those lines, Isaac’s gonna do that.
The first thing you’ll get from me, aside from the Nicki Savage story and the Allomancer Jak that you’ve already gotten, is this new prologue to White Sand. There’s some scenes in there that don’t show up in the original manuscript that were put in there for reasons, just to help the book come together as a whole, that I hope people will like. So you’ll kinda get to see what my take is on cosmere-type things on that.
But that’s where I’m at right now. I’m really enjoying fleshing out the Darkside stuff. We’re thinking about calling it The Arcanist, relating to Khriss. This is her story. And that also gives us leeway to continue her stories under that title, The Arcanist.
My question is, would you please line up the Elendel Basin with the map of the Final Empire, so that we can get an idea of where it fits on that map?
Also, could we get or are we going to get a world map for Scadrial? Or even just the entire Northern Continent? I love your maps and I love seeing where everything is!
What a great question, and thank you for your kind words. I've never posted this before, but this is what I used [image with green circle] in laying out the Elendel basin after figuring out how big we needed it to be to produce the amount of crops we wanted and also in figuring out the scale of the rest of the known world. The caveat here is that when we created the new map of the Final Empire--the one found in the leatherbound books and the new mass market paperbacks--we revisited the scale of the Final Empire with the help of our continuity editor Karen.
So while that image is what I used to create the Elendel Basin back in 2010 or 2011, we might have to revise the scale once we start showing more of the world. And yes, I suspect that in future books, we'll be getting more maps of various places on Scadrial, and maybe an entire world map at some point.
Awesome! So this would be pretty accurate? https://i.imgur.com/lfQkD3g.png [superimposed image]
I would say that's pretty close, though remember that the land might've changed a great deal at the end of The Hero of Ages
Do you have a "look bible" [for collaborating artists]? Or do you literally give them the stuff that you've already produced? Do you say, "This is my map of X," or "This is the way the Lord Ruler works," or do you kind of go, "Hey, here's what Vin has been for the last ten years, but these are the things you can't change"? Do you have guidance like that that you give people?
Usually the guidance we give them is the words in the book. We sometimes give pictures and things, reference. We did that for the cover for Oathbringer, where we provided reference of, "Here are some pictures of people who look kind of like Jasnah that might work." We're doing that more and more, but at this point...
I know that Magic: The Gathering has these big look bibles that they share with their artists, and those are really cool. And then they wind up turning them into these gorgeous art books that they've been putting out, using a lot of the same stuff from there. And we haven't gotten quite to that point where it's like, "You know what? This person has to look this particular way." We're moving that direction, slowly, but that's because we're based on books. We want people to be able to imagine the characters as they would.
We hesitate sometimes, when it's like, "Okay, here's the look of what this person is." Even with the Heralds, that we were putting at the endpapers of the Stormlight books, we are careful to say that those paintings are somebody's interpretation. We like ot think of these as in-world interpretations, and each of the artists who are painting them for us are maybe artists actually on Roshar, and they've painted these paintings that are hanging somewhere in some prince's palace or queen's palace, and they've got all of these pictures of the Heralds. So we treat these as in-world artifacts. However, they were not painted from the real people that the Heralds are, so it's more of the tradition of what this Herald looks like.
It's very interesting you say that, because you even said that, when you showed us your early sketches of Vin, looked very much like what [fan artists] made. So, the words are descriptive enough that they're fairly clear.
I mean, there are some thing that we have to canonize later, like, "Which ear is Vin's earring in?" Well, it's not mentioned. It's not mentioned until we got to the leatherbound books, and we said, "We have to figure this out!" And then we made a few notes in the leatherbound books, "This is her left ear." But there are things we run into like that. And the more secondary the character is, usually the less words that are written about them, so there's more wiggle room on how to define them.
Can you shed some insight on the more esoteric design decisions, such as the map of Roshar being based on a fractal, in particular a slice of the Julia set of some seemingly-random 4-dimensional function? How do things like this come to pass? Are designs like this mandates from Brandon? Do you ask mathematicians for something obscure to hide in the map? Is fractal theory the hobby of someone on the team?
This is what Brandon has said concerning Roshar and the Julia Set. He handed the picture to me and said, "Can you turn this into a giant continent?" and I said, "Yes." The process of defining the coastlines, mountains, and islands was quite fun after that.
How did the Roshar map being a Julia Set affect the process of creating it?
It really was no different than other maps I've made. I usually am seeing maps everywhere I go: guacamole remnants on lids, stains on restroom floors (ew!!), and random stains in the road or the way a brick wall crumbles. I like these fractal-like images and save pictures for future maps. So I just took the Julia Set and looked at it and said, "okay, now it's a real continent, where are the rivers, how does the coastline go, where are the islands, etc."
I'm getting "Taln's scar" tattooed on my right shin to cover a scar. Any input on the size/shape of the galaxy? (more than just the star map in the front of arcanum)
That's pretty cool! Well, Taln's scar is going to look different from different vantage points in the Cosmere. From the vantage point used on the Arcanum star map, it looks like a curved string of red stars. Elsewhere it's straighter. From some vantages, it will be horizontal, and others it will be vertical. There will be the sides of some planets that won't see it at all, kind of like how the North star isn't visible from the southern hemisphere of earth.
Are just the stars red? Is there cosmic space dust around them that's also red? Like a Nebula, but also red?
I honestly don't know if the stars are red or if there is space dust around them making them appear to be red. This is a question better asked of Brandon. However, I don't think you can go wrong making the stars red themselves as they appear on the chart, especially since most of the Cosmere views them as red, too.
The Arcanist?
That's sort of the working title. I'm still kind of in the back of my head thinking if we can find something that's White Sand and still has that same cadence so it feels like it... I mean, calling it The Arcanist is good because it will be Khriss's story. We follow Kenton in this one, I think the back half to this story would need to be Khriss going back to Darkside and figuring out what to do with the Emperor there and saving her town.
The status? I have a lot of notes for that.
He's writing Boatload of Mummies right now. So the status is: finish Boatload of Mummies, release Boatload of Mummies, decide what he wants to do next in the Cosmere. 'Cause Isaac's got the do-what-he-would-like-in-the-Cosmere ticket.
The one that I'm really excited and might wind up doing after this, and I'm not gonna give too much on it, but I love the title of it. But it would be set on Scadrial and be called Son of Bones. That's the one that I would really like to write after Boatload of Mummies if it turns out okay.
Will we be getting Shallan's sketches in color [in the tenth anniversary Stormlight leatherbounds].
The answer is "kind of." We will be doing those in two color.
There was never any talk of doing the sketchbook pages in color, because Shallan didn't do them in color. It would look really odd for those to be in color. And the thing that drew me to Ben McSweeney doing them, when I originally hired him before Isaac even worked for me, was his line art. I like his sketchy line art. And I would not want to do those...
We are going to have a bunch of full-color pieces.
There's also limitations with how many colored pieces you can put in a volume. One of them is however many signatures are in the book (how many packets of these [pages], you can only put color pieces in between those. So if you have nine signatures in a book, you're limited to nine pieces, for example. So we were limited to that. And there are, like Brandon said, like 30 pieces of art in the book. If we did all full color on that, we wouldn't be able to print the book. They wouldn't be able to do that for us.
Who are your favorite characters in the Cosmere?
Dalinar, Nazh, Khriss, Hoid, [Nicki] Savage, Vin, Kaladin, Vasher, and Baon, exactly in that order. :) But honestly, I love them all. Brandon has created such a wonderful universe of characters, and I pinch myself every day that I get to assist in the workings of these worlds.
Even Moash?
Moash has become a great tragic character, in my opinion. Yes, people love to hate him, but that still makes a great character. And it's the tragedy of his choices that pulls the emotions from us.
You're going to make me. They're trying to get me to canonize Endowment's gender. *crowd goes oh* ...Yes I have... I'm going to look at the thing that you guys would just love to see--
So now's not the time to snatch that?
It's encrypted, we've been developing a language that only we can read. *laughter* It's all in glyphs.
Is it in the women's script?
Should we get Mi'chelle over here?
It’s in a language that will never be decrypted...
I can't find-- Karen must have moved this. I have the name in here. I haven't canonized the name either have I?
We don’t know. You can put that information on there too.
Yeah but Karen moved it.
People have guessed that it's Edgli but..
I think it’s gotten RAFO'd before...
*writes* Endowment is female.
There you go. You guys got two big ones out of me.
I've noticed that the glyphs seemed to take inspiration from Arabic word art and calligraphy... Do you think you could talk a little more about how it inspired the making of glyphs and the art behind them? Did you draw from any other written languages (like Chinese calligraphy) when creating this system?
Good question! The biggest influence was definitely Arabic word art and calligraphy. That's something Brandon and I wanted to do from the start with the glyphs, and I realized that in order to make both glyphs and word art work, I'd have to take things a step farther and figure out the building blocks of the glyphs. I can't think of any other systems off the top of my head that I drew direct inspiration from.
The second biggest influence was the need for the glyphs to be symmetrical to reflect the holiness of symmetry within Vorin culture. I had an old iPod touch (it was new back then) and a simple symmetry app. When I found myself with a few minutes, I'd spend time sketching interesting shapes. I saved the best of these for use in The Way of Kings. Using those as a base, I started coming up with calligraphic shapes that would allow me the look I wanted, and over a bit of time, I developed a lexicon of shapes to use in the creation of glyphs. This helped keep the style mostly consistent from one glyph to another. Though there are levels of complexity in glyphs, I believe--everything from creating a glyphward for religious purposes to scrawling the shorthand version of a glyph on a map to indicate whose army is where.
In English, "N" is articulated the same way "T" and "D" are - on the alveolar ridge (as all three are nasal alveolar). It seems like in the women's script "N" belongs to a different family from "T" and "D". The former is a "left facing arrow" while the latter two are "right facing arrows", to use some very basic description of the symbol shapes. Why is that?
Peter might have a better explanation for this, but because of the three sizes, we had to group things in ways that didn't always make sense. The N was a fourth letter in a set (TDL), so looking back, maybe we should've grouped N with TD instead of the L, but then that has a cascading effect, so this was the best we could do in the time we had. But we don't know exactly how the Alethi speak. There's always a chance that the Alethi Z sounds more like "dz," and the Alethi "S" sounds more like "ts" (like the German Z), in which case the SZN grouping makes a lot more sense. But that's just conjecture.
The symbol sets are all based on historical place of articulation (and articulating tongue part), and there have been some sound changes over the centuries so they don't currently all line up exactly. The t/d/r/th/l group (historically alveolar) is articulated with the tip of the tongue, and the s/z/n/sh/h group (historically postalveolar) is/was articulated with the blade of the tongue.
The modern h sound (like h in English) used to appear only in the palindromic locations, and was written only with the diacritic. This diacritic is mirrored on the top and bottom of the character. Some writers may use only the top or bottom because lazy. Also, sometimes the diacritic can be left out entirely and people just know to pronounce it as h because it's a very common word or name.
The h character used to stand for a weakly-voiced postalveolar non-sibilant fricative. This later shifted backward to a velar fricative (first weakly-voiced, later voiceless) as in Kholin. In modern times the h character is usually for the same h sound that we have in English. Sometimes kh is written using a combination of the k and h characters, and sometimes it's written just as h for historical reasons. Different regional dialects also shift the pronunciation one way or another.
The L sound has also shifted. It used to be a voiced alveolar lateral fricative, and this is still seen in names like Lhan. It's now a regular L sound.
The final group, k/g/y/ch/j, used to have dual articulation, similar to velarized postalveolar. Now the articulation has separated, with some velar and some postalveolar.
Currently y and j are pronounced the same or differently based on class and regional dialect. So, a darkeyes name like Jost or Jest will be pronounced with a regular j sound, while with the upper class it has merged with y so that Jasnah and Jezerezeh are pronounced with a y sound. Historically they were always separate sounds.
What perspective is this constellation map seen/drawn from? Somebody from an earlier signing in this tour said they spoke with you about this, and you mentioned Silverlight, but not exactly... I got the impression that your reply wasn't transcribed verbatim Can you address the perspective issue here? We now know that Silverlight is in the Cognitive Realm (where the stars don't necessarily match their physical arrangement, if they are visible at all), so if you worried about accidentally revealing that earlier, it's no longer an issue.
The map was created to reside in Silverlight and represents a partial view of the night sky from a point we have not yet revealed. So, no, this is not a view of the night sky from Silverlight. This is a mural painted for a patron whose travels have taken them far far afield.
Are we ever going to get Glyphs that represent the 3 Shards on Roshar?
This is a very intriguing question, one that I've written down for future contemplation. Thanks for the food for thought!
Is the Ghostblood symbol a stylized marewill flower?
RAFO! No, actually that’s WAFO - wait and find out.
The Heralds, like I said, we want these Sistine Chapel type paintings of the ten Heralds in-world to make as our endpages. And you got four of them in Oathbringer. But there's ten Heralds. So we've been working, slowly over time, collecting pictures from people we really want to work with, who we think would do really good jobs. And we started on these pretty early, because we wanted to find when people had openings in their schedule, of just artists we wanted to work with.
And it was earlier last year, almost a year now, that we got Taln in. And it is gorgeous. And we've got the actual, physical painting. With these, we're buying them all, the physical painting. If they'll sell them; Dan Dos Santos won't sell us his yet. He likes them too much, which we will not push him on that. But we have Jezrien and we have Vev upstairs.
So, yeah, we've got the Taln painting that Isaac is going to grab from you. And he'll do the reveal of who did that, and things like that. But it is one of the best fantasy/science fiction artists of all time.
This will be for Rhythm of War. (If indeed that is the title. Because we haven't officially announced it, yet.)
This is Taln. This will be one of our endpapers at some point for one of the books. Probably this one, but it might not be. I've hired out for the rest of them, so it just depends on what fits the tone of the book.
This is by Donato [Giancola]. And Donato has been amazing to work with. You've probably seen his stuff for The Lord of the Rings. He's done stuff for George Martin. He's done space stuff.
I have always wanted to own a Donato. He actually did an art piece for us very early in my career for a short story, but it was digital-only, so I couldn't buy it.
The process on this was, we have these briefs that I write up about each of the heralds. I go into our wiki, I pull out the lore, things that haven't been revealed. I put it all together, and I send out what I'm allowed to to the artist. Which is usually most of it. And then I say the whole thing about, "These are kind of like the Sistine Chapel paintings, and all of the apostles. These are something from the Renaissance of this world, where they have done Vorin representations of the ten Heralds."
So, on this one, I sent him Taln. We know that Taln (especially we know this from Oathbringer) is the one who held the Darkness back, he held the Desolations at bay for thousands of years, something like that. So what we have here, Donato interpreted that as Taln stepping forth out of Damnation with this representation of Damnation in the background.
What else can I say about this? He used our symbols for the Stonewards. We've got some of those in this. We've got our numbers; the Stonewards are number nine, so we've got the Vorin numeral nine in there. The sword, he took that from descriptions of the sword where it's kind of this large, molten nail. Anyway, we're just happy with how this turned out. He only did one revision on it for us, because we didn't need more.
Is the relative positioning of the constellations' images significant in any way? For example, the Shardbearer is pointing his blade at the dragon/serpent/monster of the Scar, while Nalthian lady looks like she is blowing Sel's fire out. Do we need to be paying attention to those?
This is more compositional than anything else. Though I wouldn't discount their positions entirely.
Brandon mentioned the possibility of a "Girl Who Looked Up" picture book at Dragoncon. Is that something you guys have talked about? It sounds amazing.
We're actively working on "The Girl Who Looked Up." My part in it is fleshing out the descriptions of what the illustrator will draw. I don't know a publication date, but there is a strong possibility of this happening.
Hey, now that the Hemalurgic Table is out in the world, can we get a normal image of it on the website so we don't have to rely on photos from people's books? :)
Eventually. I'm working on the actual final version that will wind up as the art print. I don't want to release a digital version until it's the final one.
You've been involved with some pretty big projects over the last few years. Tell us what it's been like working on the art for novels such as the Mistborn trilogy and The Way of Kings.
Writing, art, and book publishing have always been my biggest interests, so working on these great books has been very fulfilling.
I get the manuscript early on in the process, print it out, and go through the whole thing with a pencil, marking it up with notes about artistic details and tiny maps marking places in relationship to each other. Then comes my favorite part of the process: working with Brandon and his assistant Peter to make sure that my vision melds with Brandon's vision for the book. We usually do a lot of revisions and emails to get to the point where we're all happy with the results. I cannot say enough good about Brandon and Peter; they are both gentlemen to the core.
Given how much Sanderson tend to world build, and how integral for the WBing art seems to be for the Stormlight Archive series, how much influence do you have on the process?
Are there any examples of your input changing the WBing in a substantial way?
I have quite a bit of influence in the process. I've answered some of this in other questions above, but one way I can think of is in the names found on the Alethkar map. We wanted to fill out the land, so Brandon gave me license to place and name a lot of the cities and features on that map, which I then showed him. He tweaked a few of the names, and then we called it good. In book three, the city Rathalas becomes important to a character's backstory. I placed and named that city (named after one of my children), so it was a lot of fun to then see Brandon later use that city for a pivotal point in a character's story.
Broadsheets of Bands of Mourning: How canon should we take the arcana in the Ghastly Gondola?
As far as taking it as canon, it's about as canonical as the Allomancer Jak pieces. They're in-world fiction, so the characters are the narrators and are going to write things in a way that is entertaining but not necessarily how the magic actually works in certain instances.
It’s been a dream of ours here at Dragonsteel to get to work with Donato on a piece of epic fantasy art depicting a scene or character from one of Brandon’s books. We were admirers of Donato’s work even before he created the illustration for “Firstborn” on Tor.com, and wow, did he create something beautiful there. So when Brandon came to me with the idea of paintings of all ten Heralds from the Stormlight Archive, the first person that came to both of our minds was Donato.
And again, Donato has knocked this one out of the park. His rendition of Taln (Talenelat’Elin) is gorgeous. It strikes the right balance between realism and symbolism, and gives us a heroic, yet tormented, version of this beloved Herald. We love what Donato has done!
We have several paintings of the Heralds in the works, so this one is likely to appear on the end pages of this book or the next, depending on which Heralds we feel look good together and best represent the themes of the books.
When did the idea come for putting this novel in Hoid's voice in order to give it a more Goldman-esque feel? Was it a fairly easy decision? Or was it later on in the process?
It was an easy decision at the start, though I will say the seed is that I've been looking for ways to expand upon Hoid's voice. When I write Dragonsteel, which will be in his voice, it will not be like this, the tone will be very different. But I've wanted for a while to tell kind of a longer Hoid story. People often ask me, "Hey, can we get a full Wandersail told by Hoid of all of their adventures and what not?" This is a think that I knew people were interested in, and I was really interested in doing it, as well. I wanted to do something different with my prose in this book, in specific. I just felt that there was a place I could do a little leveling up in my prose, and using Hoid's voice as kind of an excuse to do that felt very good.
And The Princess Bride book is just delightful, right? If you haven't read Goldman's book, it's very good. To be honest, another person who has prose like this is J.K Rowling. The early Harry Potter books, in particular, have this same whimsical, fairy tale feel. And then, of course, you all know that my favorite author is Terry Pratchett, and he obviously had... He had a different voice from this, it's less of the fairy tale whimsy. It's just pure Pratchett; it's hard to describe. But I've always wanted to be able to practice something a little more edging toward that. So, watching The Princess Bride again and thinking "No, that's what I want to do; I want to do a voice like that. And I have the perfect person to be giving that voice."
If you go to my reading that I did at the most recent book launch, you'll hear me trying (and failing, in my opinion) to get Hoid's voice right. Kingmaker is an experiment in trying to see what I can do with Hoid's voice and how to do it correctly. And I actually started that after I finished Tress, because I wanted to find a voice for Hoid that I could edge a little away from the fairy tale. I want to use the fairy tale voice. I believe that someday I might write another one from this same voice. But I also wanted to have a voice for Hoid... He can tell different genres, right? He can tell different kinds of stories; they're all not gonna feel the same, and you see this in the books, right? The way he tells Wandersail is different from the way he tells The Dog and the Dragon. Those are two different kinds of stories. So, I tried writing Kingmaker, and I did not like how the voice went in that one. So I backed off on that, and I instead wrote Secret Project Two, which is a non-Cosmere one, just to kind of shake myself out of where I had been and do something very different. (Obviously not told by Hoid; it's not in the Cosmere.) You can see a kind of failed start in there, which is kind of fun. And there are some things I like about that piece that I read from Kingmaker that I like a lot.
That's interesting to me, because of course, when you get to Dragonsteel and he's telling his own story, he's not going to tell it like a fairy tale. It's going to be something entirely different.
It's going to have a more Kingkiller-esque fell to it. I want to practice a bunch of different ways that Hoid could tell stories.
[The Cosmere symbol] does have a lot of... I don't think there's any spoilers of there. First off, we just drew a lot of things to find something that looked cool. The star in the center has sixteen points, representative of the Shards. And then, it's just kind of like, they're spreading throughout the universe. At least, in my mind, it's a representation of the Shattering, and then beings spread throughout the cosmere. That's kind of what that is.
I just saw the Feruchemical Table medallion on the store, and it reminded me of a question that was raised on the forums a little while back. It appears there's a mistake in the metal pattern, with regards to pure metals and alloys; Chromium and nicrosil are in the opposite places from what we'd expect. I've attached a color-coded example; with pure metals in green, and alloys in blue, it's evident that the Spiritual quadrant has them criss-cross, unlike the other quadrants. The medallion matches the poster's layout; that's where the question originally arose, from the poster. Is there a reason for this switch? Or is it an error in the pattern?
I just looked over the chart, and rather than the metals being in the wrong places, it looks like I accidentally swapped the symbols. So the medallion is correct. It's the symbols for chromium and nicrosil that ought to be swapped. I've cc'd Peter on this email, too, so he's aware of the mistake. I'll try to remedy this for future printings.
If we do more of these sort of books in the future [like Way of Kings Prime], they'll all look nice on the shelf next to each other. We're calling them "Sanderson Curiosities."
Theoretically, our Stormlight Kickstarters, we'll add on things like a copy of White Sand Prime. Or a copy of Dragonsteel. Or these sorts of things. That are those books I wrote before I got published, the ones that are still good, but we've never done anything with. If you want the ultimate curiosity, then having all of these unpublished books on your shelf, you can get them this way.
The Nalthis essay and star chart (similar to the ones Khriss put together for the other Shardworlds in Arcanum Unbounded) are in the works, but we don't know when we'll release them. Warbreaker's 10th anniversary next year is a good candidate, but it may happen even earlier.
So I’m a big Terry Pratchett fan, and my dad, he got a Ankh-Morpork city map. Do you have any large maps--
Large scale maps?
You know we have-- I actually have that same Ankh-Morpork map and I'm like "We gotta do something like this" but it's-- that’s down the road because that is so detailed.
The thing that I would like to do would be a cosmere star chart, that’s large scale, but we have to get a little further, introduce you to a few more planets before we can do that.
On a similar note, The Way of Kings has a lot of symbols associated with different aspects of the book. Were you involved with creating those, and if so, how did you design them?
I created forty-plus symbols for The Way of Kings. Many of these are found in the color charts in the hardcover version of the book (link here). My absolute favorites are used at the beginning of each Part (one of them is debossed on the book's hardcase beneath the dust jacket). I used Arabic word art and the shard blades as inspiration for these. Many of the originals were drawn on an iPod Touch and later brought into Photoshop for clean up.
