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The Book Smugglers

What can your fans expect from The Rithmatist, as compared to your other adult novels? Was it easier or harder to write for a YA audience (or was there anything different about the writing process for this particular book)?

Brandon Sanderson

That's an excellent question! I wouldn't say it's either easier or harder. For me, a story grows in my mind till I just can't ignore it anymore, and I have to write it. That certainly happened with The Rithmatist.

As for what I did differently, there are a couple things. When I work on a teen book, I usually try to focus the viewpoints. That's one of the big distinctions for me between an epic fantasy that has teen characters—like the Mistborn books—and a book that I've specifically written for a teen audience. I usually focus on a single character—maybe two—so the narrative is a bit more streamlined.

The other big difference here is that I really wanted to write something with a sense of fantasy whimsy to it. I say whimsical, and it might be the right term, and yet it's not. For example, the magic system is one of the most rigorous and specific that I've written. I hope readers will find it as interesting as I do—with the defensive circles and the different types of lines.

With my epic fantasy books like The Way of Kings, for example, I looked at the size of the planet, its gravitation, its oxygen content—all the sorts of things that allow me to worldbuild with some scientific rigor. I consciously didn't want to do that with The Rithmatist. I replaced the United States with the United Isles, turning the country into an archipelago. I shrank the planet, and I did really weird things to the history of the world because I thought it would be fun. For example, I let Korea conquer the world, because I'm a fan of Korean history.

It's not like I'm sitting down and saying, "What is plausible?" I'm sitting down and saying, "What is awesome?" Then I write a story in which that awesomeness can shine. I let myself do that in my YA works more than in my adult works to give them a different feel. Writing this way allows me to exercise different muscles.

I believe that children and teens are better able to mode shift. When they pick up a book, they don't necessarily feel that it has to fit in one of the genre boxes. As an author, that allows you to do some interesting things in teen that are harder to do within an adult genre. 

Brandon Sanderson

Fantasy Stereotypes

Sazed makes an interesting note. "There is a kandra who fits in with his people as poorly as I do with my own," he thinks. Why is it that I tend to create a culture, then build characters who are in direct opposition to the way that the rest of their people act? I think there are a couple of reasons.

First off, as I've said, I feel that characters are driven by conflict. The person who is a perfect example of what his people revere just doesn't have as much conflict as the person who is in opposition to his own social mores. A Terrisman rebel, a kandra with wanderlust, a Dula who is depressed—these types of people just seem more interesting to me.

In addition, fantasy has a reputation for defining an entire culture based on a single individual. If you meet a dwarf, then you know how all dwarves act because each and every dwarf is just like this dwarf. It's common in fantasy books to let race or nationality be the same as personality. I react against this, and so intentionally create characters who don't fit in with their own people as a means of showing that any culture can create a multitude of different types of people.

I have to be careful not to let this be a crutch, of course.

Questioner

Why did you write Zane for the Mistborn series?

Brandon Sanderson

Zane was a character that I found fascinating. When I designed him, I felt that the setting and characters needed more nuance, and he provided it. I feel that Zane could've gone either way, and he made a bad decision at the end, but could've absolutely gone the other direction and I was really interested in the idea of someone who thought they were insane but actually weren't. So a bunch of things collected, making Zane.

Brandon Sanderson

This is an interesting topic, and though I saw this early, I wanted to wait to post anything because I prefer to let discussions like this happen without author intervention, at least not immediately.

I do I like talking about topics like this, though. Humor is such a curiously subjective thing. There are people who just don't get Pratchett, whom I find the funniest thing ever. Conversely, I don't generally like stand up comedians, and actively dislike some of the comedies that people on reddit love. There are people who tell me that my Mat scenes in WoT are the funniest they've read in the series; there are others who consider them absolute duds.

Humor is more subjective than what we find heroic, tragic, or even beautiful. It also depends a great deal on audience buy-in and mood. This makes comedy one of the trickiest things to do in a book, because some people are just going to hate what you do. My approach has generally been a kind of shotgun blast--I try to include multiple different kinds of humor, stylized to the individual character. That way, if you don't find the humor itself funny, you at least learn what the character finds funny--and learn something about them.

In Stormlight, my personal favorite is the bridge crew humor, as it is distinctly character driven. Syl's humor is a different flavor, based on innocence mixed with sarcasm. Wit is another style entirely, though I usually only let him really go when he meets someone he dislikes strongly. I have to be careful, as he's one of the few characters I allow to stray into the vulgar, and letting him go too far risks letting such things overshadow the rest of the book.

Shallan's humor is based upon regency "women sit in a circle and trade witty comments" humor, of which Jane Austen was a master. Much of what the OP said in his post is correct--Shallan's fault is that she over-extends. She uses the humor as a coping mechanism, and to her, it doesn't matter if it's actually funny so long as she's stretching toward something more lighthearted than her terrible past. She tries very hard to prove herself. And she fails. Often.

However, her type of "wit" is to exemplify what Vorin lighteyed women consider to be amusing or diverting. And there are people who genuinely find that kind of thing to be a blast--though Shallan isn't exactly the best at it yet. (She's not terrible either, mind you. If you don't smile at some of the things she says, it's likely this isn't your type of humor, which is just fine. Hopefully, there will be other things in the books that make you smile.)

Though, that said, I'd love to read passages from other fantasy novels that people on reddit find to be actually laugh-out-loud funny. I know which ones I personally like, but it would be useful for me to see what you're liking. Feel free to PM them to me or to post them here.

Questioner

We have a lot of fan theories about your work, and most of them are wrong by necessity.

Brandon Sanderson

...That is true.

Questioner

Are there things that are sort of directly designed to encourage or dissuade certain theories?

Brandon Sanderson

...As a member of Wheel of Time fandom growing up, I have experience on both sides of this now. And I decided after-- and this was partially looking at Robert Jordan's notes, looking at how he approached it, how it worked, being a fan-- I decided that that direction lies madness. Trying to stay ahead of the fans, trying-- if you try to twist so much that the fans can't guess, then that just means your foreshadowing is not going to work. On the other hand, doing too many in-jokes and things like this, it risks just making your book uninteresting, or not long-lasting.

And so while I read a lot of fan theories, and I even take them on occasion-- like Shardfork? That was totally a fan thing. Someone suggested that, I'm like, "Yeah, that would totally happen." But I kinda have to approach it from the frame of mind of "What would the characters do?" And I try not to actively write things that dissuade or encourage certain theories, I try to write what is best for the story. And let the fans then-- if they're going to guess, they're going to guess. If my foreshadowing is good, they probably are going to guess. At the same time, I know how insane they all are, 'cause I'm one of them, and I know they're just gonna go off on weird tangents. And that's just fine too.

So, it's this weird balance where I try to be part of the fandom, but make sure not being overly influenced by the fandom, and Wheel of Time gave me a lot of good practice on this. One of the things I really worried about with Wheel of Time was that the book would become a sequence of in-jokes for people who had read the series before. And yet, at the same time, as a fan, there were certain things I really wanted to see happen. I wanted to see certain characters meet up again after a long time apart, and I had been waiting for that for, like, a decade, and I was gonna make that happen, right? And I had to balance those two things, and that's just what I do with my books, even still.

NotOJebus

If Wax/Marasi had worked out, he'd probably have been okay with it, for example.

Was there ever a chance this was going to be the case?

Brandon Sanderson

Yes, there was a slight chance. It wasn't what I had planned, but even an outline writer like myself must be willing to change plans as a story adapts. So until a book is published, there's a chance things will change.

However, in this case, the more I wrote, the more confident I was that this path was the right one.

Brian Seavey

Do you have any advice for aspiring writers who are educated in a field other than literature and in a profession already that is not centered around writing?

Brandon Sanderson

Yes! I'll tell you that you're in luck. Take what you've learned in your field of education, and in your profession, and apply it to your writing. RJ used his experience as a solider; Grisham made a career out of writing books related to his work. You have special experience and knowledge that will make your books distinctive. Make use of it!

Questioner

How much is a stone-weight on Roshar?

Brandon Sanderson

Uh... that is actually a question for Peter. I actually, often, will just write in brackets "this much," and he comes up with the weights and measures, because I can never be consistent in my first drafts. So, yeah, you ask Peter, he can get that for you. I do the same thing with spheres, right? I'm like, "This costs roughly 100 bucks in our world," and he'll go "All right, fine" and go look up all the things. I used to keep it all in the first book, but since then I just let him do it.

zorro_pickanalytics

Did you know from the start Skyward would be a good fit for an existing world or was it something you realized after starting to develop the story?

Brandon Sanderson

It was once I started developing the story. I often am working on the elements of stories separately before I combine them into one whole--and so it wasn't until I sat down to do the outline, officially taking several pieces of various story ideas and combining them--that I knew for certain that this was a good fit.

WeiryWriter

Are you planning on using what you learned from writing Renarin and Steris to improve the characterization of Adien when you write Elantris 2?

Brandon Sanderson

Yes. Adien is one of my-- regrets is probably the wrong term. But I talked earlier about coming to terms with the fact that as you grow as a writer, there are certain things that you will have done less well then you can do them now. I consider Steris and Renarin my-- Again, apology's the wrong term. I tried very hard when I wrote Elantris. I was not the writer I am today, and I did not have access to the helpful readers who could point me-- you know, by writing Adien a little pop culture-y, the pop culture version of someone with autism, I was able to be told by people, "you know, this is kind of a stereotype." What Adien is does exist, but very rarely, and if you wanna have a more complete picture of it, you should read this resource or talk to this person. That's one of those areas that, here I thought I was being all forward thinking. And I did something that perpetuated a stereotype at the same time. That's not something I think you need to be embarrassed of, as a writer, as long as you're willing to listen and do better.

Brandon Sanderson

Chapter One

This was a controversial chapter for my writing group and my editor, and was wrapped up in the whole learning curve argument. It was suggested several times that if this chapter were from Kaladin's viewpoint, the book wouldn't feel quite so overwhelming at the start. After all, Chapters One and Two would then be from the same viewpoint and would give a stronger clue to readers.

I resisted. I had already accepted that this was going to be a challenging book for readers. That's not an excuse to ignore advice, but at the same time, I decided I was committed to the long-term with this book. That meant doing things at the start that might seem unusual for the purpose of later payoff.

This is an excellent example of that. If I'd done this scene through Kaladin's eyes, I don't think it would have been as powerful. Kaladin is on top of things here, in control. I didn't want the first chapter to feel that in control. I wanted the sense of chaos worry and uncertainty.

Beyond that, I wanted to introduce Kaladin as a contrast to all of that. A solid force for order, a natural leader, and an all-around awesome guy. Doing that from within someone's viewpoint is tough unless they're on the arrogant side, like Kelsier. It can work in that kind of viewpoint, but not in Kaladin's.

Finally, I am always looking to play with the tropes of fantasy where I can. I feel that if I'd been writing this as a youth, I'd have made someone like Cenn the hero. (Indeed, in the original draft of The Way of Kings from 2002, Kaladin was much more like Cenn is now.) Opening with a young man thrust into war, then having him get killed seemed like a good way to sweep the pieces off the table and say, "No, what you expect to happen isn't going to happen in this book."

This also let me set up for a future chapter, where I could flashback to Kaladin's view of these events. As narrative structure was something I wanted to play with in this book, that appealed to me.

Questioner

As a writer that has written a lot, do you still struggle with certain aspects of writing, like punctuation slip-ups or--

Brandon Sanderson

Do I still struggle, as a writer who has written a lot, with certain things. I would say my biggest weakness as a writer is repeating words or phrases, which is a very common thing for writers to have who are not really-- There are people like Pat Rothfuss who don't have this problem because they slave over every sentence. For years. *laughter* I love you Pat, you know I love you. But for most writers that's one, and that's one that is mine. And one way I try to fight this is I try to highlight the ones I use a lot, I have my assistant watch for them and do a search and replace in Microsoft Word for the word with brackets around it, so it leaves the same word, it just brackets it, so I can really decide, do I want to use that word or did I just use it because that's the word I always use? So there's that. The other big thing as a writer is I still don't like revision. I still get-- Revision-- I want to be writing a new story not revising an old one. But fortunately this is a battle that revision won like twenty years ago. More like fifteen. But I've gotten used to how I have to do it and when a book is done, and the number of drafts it requires to really make a great book. So I do it even though, you know.

Questioner

In the second series of Stormlight Archive, are they going to be about the same characters?

Brandon Sanderson

That's an excellent question. So when I sat down to build The Stormlight Archive, there were a couple of things that I learned from The Wheel of Time. One was that the further an epic fantasy series goes, the more important it is that you have a structure to the series. It's very easy for the books to start blending into one another, and it's also very easy to let side characters take over books. This is very natural for us as writers, particularly in a big epic fantasy, and I felt that when I approached The Stormlight Archive there are a couple of things I did. One is that I said "All right, I'm going to confine all my side characters to these things called interludes, where I can just go crazy and do whatever I want, but they have to be like, isolated in their own containment unit called the interludes to prevent me from turning from the books just going in all directions at once."

The other thing I said is, "Each book is going to be about an order of Knights Radiant, and it's going to have a flashback sequence directly tied to that order." So that when you say "All right, which book is book three," you're like, "Oh, that's Dalinar's book, that's the Bondsmith book." All of the characters are in all of the books, but each book has kind of its own soul and theme that helps me as a writer structure where I'm going to release information, and what it's going to be about. And so when I set down this, I said said "I'm going to pick 10 characters, 10 orders (and they are not always going to be exactly what you expect), but I'm going to build each book to have a theme based around those things."

The first five were Dalinar, Kaladin, Shallan, Eshonai and Szeth. So those are the five books you are going to get in the first arc. And the second arc is Lift, Renarin, Ash, Taln and Jasnah, right. Now, all the characters from the first five will be in all those books, and some of them will still be main characters. You can expect it, like it is one series. All the ones that survive *crowd groans* no spoilers. But you can expect in the back five, people that you are expecting that are main characters now will still be main characters, and you will have a lot of space dedicated to them still, but the flashback sequences, and the themes of the book, will focus on those five. And so it hopefully will help it all have a structure and a feeling. 

Between book 5 and book 6, in-world, there will be a time jump of about 10 years, so just be expecting that. But I can't say anything more without getting into spoilers, so I won't. But that's what you can expect.

Brandon Sanderson

Chapter 11

And now comes the redemption chapter.

This is the sort of thing that I write books to do. It's the sort of chapter that I really hope to be able to pull off. That may seem strange to some of you, as it's not the climatic ending or the like—but it's the turning point of the story. Probably the most important one in the book.

I've said before that I feel Epic Fantasy is about return on investment. We often demand a lot of readers in terms of worldbuilding. There's a lot to catch up on and follow in a book like this. The goal, then, is to be able to deliver powerful scenes that make use of the investment.

The reward for the early chapters is this chapter. It lays a foundation for the entire book. I've brought Kaladin as low as I could bring him, and now we get to experience the scramble upward.

Perhaps I think about these things too much. However, this was exactly what was missing from Prime when I wrote it. I was baffled, at the time, as to why the book just didn't work. It had all of the elements of a good epicw, and yet the book felt hollow somehow. There were fun adventures to be had, but no real impact. What it needed was this sequence, which has a lot of motion (and hopefully heart) to it.

This chapter makes the book for me.

Brandon Sanderson

Lightsong Meets Allmother

This was a tough scene to get right. The trick is, I knew by this point that I wanted Allmother to be one of those who disliked Lightsong. She thinks that he's a useless god, and she isn't one of those who saw hidden depth in him.

I also knew that I wanted to give a twist here by having Lightsong offer up his Commands and give himself a way out, so to speak. What he does here is rather honorable. He knows that Allmother is a clever woman and perhaps one of the only gods capable of going toe-to-toe with Blushweaver. By giving her his Commands, he does a good job of countering Blushweaver without having to resist her.

But he couldn't get away with it. He had to stay in the middle of it all, for the good of the story and for the good of him as a character. So the question became, "Why in the world would Allmother give him her Commands?"

The prophetic dreams came to my rescue a couple of times in this book. I know that they're cheating slightly, but since I've built them into the story, I might as well use them. Having her having dreamed of his arrival gives me the out for why she'd do something as crazy as give up her Commands. I think her visions, mixed with the knowledge that Calmseer trusted Lightsong, would be enough to push her over the edge.

Brandon Sanderson

Hello, all. Time for another update on your book. (See the last update HERE, if you are interested.)

This post WILL have Oathbringer spoilers, and slight spoilers for Book Four. So if you are concerned about those things, here is the no spoiler update: I just passed the 50% mark! The book is looking good so far. Moshe had some very enthusiastic and positive things to say about the first chunk I sent him. I'm still hoping for a Christmas 2020 release.

Now, for slight spoilers. At this point, I've finished the second chunk of the book. This means I've finished viewpoint cluster two, for those who are following along. If you aren't, or if this confuses you, I whipped up a little visualization.

This book, as I've said before, starts with all the characters together--then splits into three groups of viewpoints. The first group is the largest, and the most involved, with five viewpoints characters. Two of these, however, will have only a few viewpoints (and one might just appear in other viewpoints, save for an interlude.) Really, this is the story of three characters, and forms the core arc of the book.

The second viewpoint cluster, which is the one I've now finished, follows two characters on a very involved--but more narrowly focused--plot. The final cluster takes two remaining viewpoint characters, and touches lightly upon what they are doing, without going into quite as much depth as the other two groups.

Now that group two is finished, I have turned my attention to group one--the most difficult of the sequences to write. This should take me a few more months. After that, I'll write group three and the interludes.

One issue I've been having with the book is the flashbacks. I'm not 100% sure they'll work the way I planned them to. In that case, it's possible I will toss them and doing them from Venli's viewpoint instead. I'm excited to write more Eshonai, but there's a real chance that the viewpoints will feel like fluff, as Venli is the one who knew the secrets happening behind the scenes among the Listeners at the time.

This might be a place where I have to kill my darlings and just do what makes the most sense for the narrative, even though the other way (with Eshonai having the flashbacks) always appealed to me from a "this is less expected" angle.

I can't say for certain, and my gut says that--in abstract--more people would enjoy reading about Eshonai as a character, but would find the chapters a little boring and out of place. Venli flashbacks would, instead, be filled with cosmere mysteries and answers that will be more interesting.

We'll see how it goes. I haven't written the flashbacks yet, so we'll need to see about them as I write.

Otherwise, how do we look? Well, my trip to France and Spain really took a bite out of my writing time. We're hovering right at about 30k words behind (with 200k finished of a projected 400k.) 30k behind is roughly one month behind. (We've been about this far behind since I started on the book, as touring delays continue to eat up any progress I make catching up.) Hopefully, September will involve a lot of good writing time, as I don't have any trips planned except for Dragon*Con this weekend.

Of course, come October, it's back on tour. (France and Israel this time.) The goal is still to try to finish by January. Getting halfway took basically five months, however, and there are only four months left in the year. If I don't hit January for finishing, we're likely looking at a spring 2021 release.

As always, thank you for your patience and enthusiasm. Also, as always, I promise that I do consider these goals of when to finish only to be goals--not hardfast rules. I will take the time I need to make the book great, and if it comes down to delaying the book or releasing a novel that isn't ready, we WILL delay.

I will not be sending replies to this thread to my inbox, so there's a good chance I'll miss your comments. If I do, just let me say thank you again!

Brandon

Anna

Epigraphs in Mistborn & Stormlight: did you wrote them before, during or after writing the rest of the book?

Brandon Sanderson

Almost always after the book is done, with notes before certain chapters of what to include above that one.

Questioner

How do you decide who lives and who dies? Do you know before or is it up to the characters?

Brandon Sanderson

How do I decide who lives and who dies? I just decide based on the demands that they make to me by their character arcs and the risks they want to take. I don't ever feel like I'm killing characters off, I feel like I am writing the stories that need to be written the way they have to be written. They often are planned out ahead of time, I'm an architect as a writer, I come up with an outline and then I hang my story on it. But characters have veto power over the story, if they decide they want to go somewhere else. If who they are growing is somebody the story demands-- I say they decide, it doesn't really happen that way for me. If when I'm writing the story I'm like "This character would not make this decision. I either need to put in a new character in this place or I need to rebuild my outline to match who this person is." And both of those have happened to me. Usually I'm not replacing the character except in the early parts. Usually if I like the character enough as I'm going I replace the plot.

Questioner

Where are the rest of Roshar's named gems? Like, we have the Hope diamond, we've got dozens of--

Brandon Sanderson

A lot of them are in the [Thaylen Gemstone Reserve] ...There's a lot of them around and there are places like that. One of the tricks, and I actually kind of was aware of this, particularly in book three, I was like "Yeah, I maybe should have named some of these things earlier." One of the tricks with a book like Way of Kings, there are already so many new names and terms that oftentimes I find myself finding ways to not include a new name or term because the overwhelming nature of the learning curve is so big. And I will admit, writing book three I'm like, "Ah, I should have named some of these earlier," this is what they would do.

But it's kind of this Occam's razor, well, that's the wrong term. It's this idea of "Let's try to keep it as simple as possible for that fact that it's really complex." and that's why I naturally just didn't do it. 

I would say in-world a lot of them are named. But you've also got to remember that gems are not as eternal on Roshar as they are. They are a little more ephemeral, you will often end up using them for something and they are wearing out, so to speak. So the idea that a diamond is forever is more of an Earth concept than a Roshar concept.

Brandon Sanderson

Vasher and Denth's Climax

I wanted to offer Denth the chance for redemption here, though there was no way he was going to let himself take it. His response is honest. He doesn't feel he deserves it. He has done terrible things; to wipe away the memory of them would be cheating. Better to just get it over with.

There's a very good chance that after killing Vasher, Denth would have walked over, picked up Nightblood, and let the sword drain his life away. He wouldn't have been able to live with the guilt.

But that doesn't happen. When I first designed this magic system, I added to it the idea that taking a lot of Breath shocks you and sends you into a small seizure of pleasure. This is lifted from the magic system in Mythwalker, the story from which I drew Siri and Vivenna. I added the component to Awakening not only because it fit, but because I liked giving one more little nod to Mythwalker.

However, the moment I began writing it, I knew that this twist of giving someone Breath, then killing them, would be an awesome way to pull a reversal with the magic. So I built into the story the entire arc of Vasher beating Arsteel mysteriously, and Denth wanting to duel him to prove that he couldn't win a duel.

Denth was right. Vasher cheated.

Questioner

As your characters have evolved and grown, as we've seen in different books-- We've also seen, like with your character Wayne, kind of the sense of humor inside of the characters changed, and with him we've kind of seen this-- I guess, uh, kind of more seedy and base sense of humor with him, which in some ways made him more lovable and more of a favorite sense of humor. But like with kids, I've kind of been like-- worried a little bit.

Brandon Sanderson

Yeah Wayne is…

Questioner

--with the age level and I'm wondering if we're going to see more characters like that grow in as we're looking at Mistborn Era 2 and 3 coming out, and if so, do I need to be more concerned, or is it really gonna be, or is it… what methods, do we need some rating system.

Brandon Sanderson

*amused* Rating system… *laughter*

Questioner

*audio obscured*

Brandon Sanderson

Yeah, I would say that this is more, "I write the character that fits the situation" rather than any sort of an evolution on my part of this, so… I don't know. I will… really, I would leave that to other people. This is kind of one of those weird things where, like, I will both get on the same day, sometimes, e-mails from someone who's like "how can you be so crude in your books, I thought your books were supposed to be family-friendly" followed by "why won't you address adult topics in your books *laughter* why do they all feel so children-esque, child-esque", and I would assume that those are the types of e-mails that everyone gets, even George RR Martin. *laughter* "When are you gonna get to some real adult themes, George?" I'm sure there's someone who's sent that e-mail to him. Um, yeah, I write the books, you know, I have… I'm certainly not as interested as some authors in digging into the more... quote-unquote "explicit content", but at some points there are characters like Wayne where I'm like, "you know, I need to write this character who they would be", and I can have them dance around the worlds-- words to obstinate *laughs* that was not an intentional slip! Dance around the words to obfuscate things and stuff like that, but if I don't let Wayne say some of the things he wants to say, then I'm not being true to that character in the same way I wouldn't be being true to Dalinar if I didn't let him, you know, be the strictly "I follow the rules" type person that he's become, because both of those types of people exist in the world.

Um, your specific question on Era 3 of Mistborn, um, is… I don't anticipate a Wayne-like character, but who knows? Right, Era 3 right now is kind-of focused on two Terris people, the main character and her brother, and she's a computer programmer in the early days of computer programming, and--

Bystander

Fortran.

Brandon Sanderson

Yeah, like a Fortran programmer or something like that… And, you know, it's going to be-- Her story will be a little bit more geek-culture-ish and things like that. You'll have very fun with the artwork in those, let's just say that.

I can't promise you one way or the other what I'm going to do, so I think what you're-- what you should be doing is reading them yourself and then deciding for yourself with whom you will share the books.

Questioner

I've been watching some of the videos online and you say writing-- ideas are cheap, and they are, you can get ideas pretty easy, but how in the world do you get-- I can get the beginning and figure out an end but how do you do get all the stuff in the middle?

Brandon Sanderson

So if you've got your end, try and say what things, try to get a brainstorming session where you write with bullet points underneath it what things will help me earn this ending so that it feels-- that it has the emotion that I want. And try to brainstorm five or six things and make those waypoints along the way, if that makes sense, between-- Where it's not just one point and two points, it's five points, "I'm going to hit this one, this one, and this one" and if you can come up with four or five interesting things to happen through the end of your book that you can earn that way you're going to have a sequence of like twenty touchstones that can each form a chapter or a couple of chapters that you can work on to get to that ending.

Brandon Sanderson

I'm a little late to this, because of travel/booksigning woes, but I did want to jump in and offer a few things here. As Lyn said above, the AMA isn't often going to be able to dig into details about what was in the original draft--that's the sort of thing we like to keep a little closer to the chest. I'm okay with revealing things like that in the abstract, but having a wholesale "let's reveal plot points in early drafts of books without context" reveal seems like it might be dangerous.

So here, off the top of my head, are some of the things that I changed in the book related to Beta Reader comments. These topics are "open" for discussion--meaning you can ask Betas for more specifics on them, if you feel like it. These were all things I changed specifically because of Beta interaction.

Adolin's viewpoints were added to Part One. As was a quick run-down on Renarin's powers, and what he was learning to do with them.

The romantic angle between Shallan/Adolin/Kaladin was tweaked as I more and more referenced the idea that two different personalities of Shallan's were in love with two different people. IE--moving it further away from a love triangle, and instead showing more clearly that that Shallan was splitting further into multiple people, with different life goals.

This wasn't coming across in the early drafts, though I sometimes coulen't quite tell which responses were knee jerk "Twilight ruined love triangles! Don't do them!" comments and which were "I'm not convinced these four people--counting Shallan as two--are actually working in relationships." (I'll note that I, personally, am very pleased with how this part turned out in the books--but the betas certainly helped me get there. I'd guess that this is one of the more contentious matters of fan discussion about the book. The point of bringing it up here isn't to discredit anyone's feelings about the actual arc, just point out how the betas helped me find the balance I wanted.)

I got a LOT of help from people for writing Shallan's getting drunk scenes.

Slightly beefed up Yelig-nar's part in the plot, as what he did wasn't coming into play enough--and originally (I can't remember if this was a beta thing or an alpha thing) he wasn't as involved in the Amaram/Kaladin fight.

I revised part four heavily, moving the scene where Kaladin runs into our "so very beautiful" friend from Elantris (and the subsequent dip into the Spiritual Realm) from happening in the market to happening in the Lighthouse. Originally, the Lighthouse was run by Cryptics. (Which was a lot of fun.) However, I needed stronger establishment of Kaladin's motivations earlier in Part Four, which was going kind of off-the-rails a little.

Lots more conversation between characters who weren't talking enough in Part Four. (Most specifically Azure.)

There are hundreds more, but those are a few that might be of interest--and I need to be up in three hours to get on a train to go do more signings. Jet lag sure is fun!

The Book Smugglers

In all of your other books, you write strong, layered female characters—what can we expect from The Rithmatist in the protagonist/heroine department?

Brandon Sanderson

I often worry about falling into the trap of making female characters strong by not making them feminine. In Mistborn, Vin is strong in part because of how good of a warrior she is, and that's fine. There are plenty of women like that, who can hold their own in a fight. But in The Rithmatist, one of the things I wanted to do was write a female character who is more girly, so to speak. I wanted to make her a strong protagonist in a way that does not undermine her femininity. I hope that I've managed to approach that with Melody in The Rithmatist.

Questioner (paraphrased)

Twelfth - is it challenging to write from the POV of a female character and why/why not.

Brandon Sanderson (paraphrased)

Early on - yes it was, now less so. problem was: treated characters other than the main character as roles only, centered around main character. "writing characters without giving them their due". "You have to be able to write the other. Every character has to be a piece of you and a piece of not you." discusses Jasnah in particular. Point of literature is "to see what it’s like to be people who aren't us".

Brandon Sanderson

Blushweaver's Death

My editor was uncomfortable with the way this happened—he felt that the motivations for the killers weren't solid enough. I tried to put a little more in, which placated Moshe, but I always felt that they were solid.

Bad guys in books often do stupid things, and it annoys me. They're often not allowed to do the smartest things they could because it would ruin the plot. I wanted them to do the smart thing here, and I felt that the smartest thing was to kill Blushweaver. Just threatening her wouldn't have worked with Lightsong; he refused to take things seriously. A simple threat would have earned them mockery and frustration. So, not knowing that he loved her, they killed Blushweaver to show how serious they were. Then they grabbed Llarimar, not intending to actually kill him, as they knew he was the best bargaining chip against Lightsong they had. (If he hadn't talked, they'd have started cutting off Llarimar's fingers.)

The brutality of that moment of Blushweaver's throat being slit is supposed to be a major reversal in tone for Lightsong's sections. I hope that it worked for you; I think I laid the proper groundwork that this story could have things like that happen in it. I think I justified the motivations of the killers enough.

The games are over.

Questioner

What five books do you think helped you understand leadership the best?

Brandon Sanderson

Well Art of War is definitely part of that. I would say that The Prince is important for understanding leadership, even though I don't agree with every point he's making. By the way he is not as-- Even though it is Machiavelli writing it, he is not as machiavellian as we think he is in that book… So The Prince--  Hmmm, a lot of Plato surprisingly, is where I pull some of my ideas. King Benjamin's speech from the Book of Mormon, in Mosiah, if you haven't read that, is definitely part of it. Ummm... What else--

Questioner

Like where do you get your-- because you obviously have experience because that's how leadership works.

Brandon Sanderson

It is interviews, it is personal experience, it is talking to my friends who are in the military and asking them "Does this sound right? Does this feel right? Tell me what it feels like to obey. Tell me what it feels like to be in command." And things like that. Just lots of practice and interviews and things is where most of it is coming from.

Questioner

So it’s less like personal experience and more you're really good at researching it.

Brandon Sanderson

Yeah, a writer has to be able to do that because for a book like this the amount of psychology and medicine, battlefield tactics, leadership, and all these other things you need to know, you can't know them all. You can't do them all personally. You've got to be able to experience it, you've got to be able to write it as best as you can, and then go to experts. Like the medicine in this I went to a field surgeon and I said "Will you read over my Kaladin scenes and tell me where I'm going wrong." Like I was able to get myself 80% of the way there with research and then the 20% is me going to an expert and saying "Tell me what I'm doing wrong."

Questioner

How do you choose ages for your characters and how often does that change throughout the writing process?

Brandon Sanderson

How do I choose ages for my characters and how often does that change the writing process. I choose my characters... It's really hard to talk about. Because I can really drill down into how I come up with settings, so magic systems and things, and I can talk a lot about how I plot and why I plot. Character is the one that I discovery write. Writers tend to fall somewhere on this spectrum generally between what we call discovery writers and we call outliners, and I'm mostly an outliner. I like a nice tight outline, I like to know where I'm going and what's going on in my world before I start writing. But I found that I have to free write my characters, I have to figure out who they are as I write. Otherwise this outline is going to be too restrictive and I'm going to end up with characters who feel wooden. And I think that's the real risk of outlining too much, is writing the life out of your characters. And so the ages do change, and the personalities change. The famous one is Mistborn, which stars a sixteen year old girl named Vin, she was a boy in the first chapter I tried to write of that. And then that didn't work so I tried a girl with a different personality and that didn't work either. So it was the third try where it's like I'm having people walk in and and try casting calls and seeing who works. And that's generally how I go about it.

With Steelheart the character didn't click for me, and I was really worried about that. Like the prologue worked wonderfully and I wrote the prologue separately, I wrote it years before I went back to the book. Because I just had that prologue pop into my head and I wrote it out. So if you read Steelheart the prologue is like 5,000 words, it's huge, it's like twenty pages or something like that. It may not be that long, but it's a big chunk. It was the first thing that I did, and then I put the book aside. And I was really worried when I started writing that I didn't have a voice for the character, because the prologue takes place ten years before when the main character is a child. So I started writing and it didn't work, and I started writing again and it didn't work, and the thing that ended up working, this is the silliest thing, but it was when I wrote a metaphor that was really bad, a simile, right? And I'm like "Oh that's stupid" because that's what normally happens. That's what you do when you are writing, you come up with something and go "Why did I write that, it's dumb?" and you delete it. And this time I started to delete it and thought "What if I ran with that?" So I started running with it and this character grew out of the fact that he makes bad metaphors. And that's just a simple trope, a simple thing, but it grew into an entire personality. This is a person who is really earnest, trying really, really hard. They are smart, they are putting things together, but they just don't think the same way that everyone else does and they are a little bit befuddled by things. It's like they are trying a little too hard. Ironically-- Or I guess coincidentally, not ironically, the metaphor of writing bad metaphors became what grew into the personality for David. His entire personality grew out of this idea of someone who is trying so hard, and you just love him because he is trying so hard but sometimes he just faceplants. And my children do this. Like I remember my child when he was five years old and he was running toward me so excited, telling me about something and this thing that he had in his hand and there was a pole in front of him but the thing was so important. And he smacked right into and fell right back over just stunned. Like "Who put this pole in front of me?" *laughter* It was at our house, it's not like he didn't know there was a pole there, right? He was just so excited by this thing Dad, this thing! And that was where David came from.

Brandon Sanderson

Character Shifts

This is a fun chapter, formatwise. It looks simple—we've got two alternating sequences with Siri and Vivenna. But what's going on here is that I'm trying to pull the first of many reversals in this book.

A reversal is more than just a plot twist—it's a swap. (Or at least that's how I define it in my head.) Just like Elantris's substructure was that of the chapter triads, Warbreaker's substructure is that of reversals. People change places or do 180-degree turns. This presented a challenge to me, as I had to work hard to make such often-abrupt changes well foreshadowed and rational. That's rather difficult to pull off. Most twists take characters in a slightly new direction; spinning them around completely required a lot more groundwork.

If you've read other annotations of mine, you'll probably know that I love twists—but I love them only in that I love to make them work. A good twist has to be rational and unexpected at the same time. Pulling off that balance is one of the great pleasures in writing.

In this chapter, we have the beginnings of the first big reversal in this book. It's more gradual—not an abrupt one-eighty, but a slow and purposeful one-eighty. But the seeds are here, even in this early chapter. If you look at it, we have this:

Scene One: Siri acts just like we expect Siri to. Blustering and emotional.

Scene Two: Vivenna acts just like we expect Vivenna to. Calm, rational, in control, and willing to do as she is told.

Scene Three: Siri grows calm, considers her situation with more care, and acts a little bit like a queen should in deciding to send her soldiers back.

Scene Three: Vivenna is very bothered by what is happening and acts just a little bit like Siri would—she decides upon a plan that is impetuous.

I'm very excited by the underlying structure of the chapter, even though I'm aware that most people probably wouldn't be. I'm just a screwy author type. I like how the changes are very subtle, and yet already there are hints at the way the characters are heading in life.

I like reversals and tone changes, but I still think that readers deserve to have an understanding of what the major plots and arcs for a character will be. There will be twists, but I don't want to just twist needlessly or endlessly. The characters are the most important part of the story, and one thing I rarely twist (particularly late in a book) is a character's personal arc. I keep personal arcs steady, as they're the foundation of a reader's attachment to the book.

Questioner 1

[Warbreaker] ends on, you could totally write a second one. Is that in the works?

Brandon Sanderson

It is, but it's kind of a distant plan. It's kind of just more for fun. I wrote this-- I had already written Way of Kings, and I wrote this as a prequel to Way of Kings on a different world, and then it got published before Way of Kings got published. But the characters from this were already continuity in Way of Kings, so I just kept using them, because I figured it works out. Really, Warbreaker, I see it as Vasher's (and Nightblood, the sequel), the prequel, to where he came from, who was Kaladin's swordmaster in the first version of Way of Kings back when Kaladin was training to be a Shardbearer in the first book. Vasher was a major part of that, and Warbreaker was a flashback to where he'd come from.

Questioner 2

Vasher is Zahel, right?

Brandon Sanderson

Yes, Vasher is Zahel from The Stormlight Archive. Who is still kind of the swordmaster, but he's no longer Kaladin's, it didn't work out that way. But he ends up as Renarin's instead.

Jose paez

When you write.do you see the characters as real people or cartoons or comics?

Brandon Sanderson

Real people.

Brandon Sanderson

Chapter Four

Sazed's Depression and Search for Truth

And we finally get to do the first Sazed chapter.

It seems that each book presents different challenges. In book two, Sazed's scenes flowed easily and perfectly, much as TenSoon's chapters did in this book. However, in book three, I couldn't get Sazed's chapters to work right. I had to do several revisions.

The main problem was that in the first draft of the book, Sazed just sat around moping all the time. I wanted to show him in the clutch of depression, having given up on all of his religions. In that draft, he'd already decided that all of his religions were false and that there was no hope.

But his chapters were a major drag. They were rather boring to read, and even when exciting things were happening, Sazed himself was just too depressing. That came from two problems. First off, his depression just didn't feel right—it felt like I was telling people he was depressed, rather than showing someone who really had depression. Secondly, he wasn't doing anything. That's an accurate portrayal of someone with depression, but it sure is a drag to read.

So, I revised heavily and came up with the idea of Sazed looking through his portfolios searching for truth. I like how this turned out. Not only is he being active now, but it feels to me that he's more depressed—despite being active—because of the way he thinks and the edge of despair you can feel each time he eliminates one of the religions in his portfolio.

At the same time, I took out a lot of his thoughts about how depressed he was, and instead just let his outlook on things show that depression. I'm still not sure if I got the balance perfect or not, but this is such an improvement on the previous drafts that I am very pleased with it.

Questioner (paraphrased)

I just got a job as an editor. What advice can you give me about my job from the perspective of an author?

Brandon Sanderson (paraphrased)

The editor's job is to figure out what the author is trying to do, and how to help them make a better book than the author has written. Get them to try out options even when they don't want to listen or change the parts that don't work.

Questioner

You've mentioned before that your conclusions, you like to have people figure it out, like, a paragraph right before it happens. Which one do you think you executed best?

Brandon Sanderson

Oh, man. I am not sure. It's tricky, because it's getting harder and harder to fool the readers as they get wiser and wiser to my things, so at some point, I just have to be okay with that. So I think that the early books, I was able to pull off more. Like, the Mistborn 1 ending is probably the one that gets people the best. I think I'm getting better at my climaxes, but now... that people are getting wise to me, I have to convolute them a little bit more. Like, the Oathbringer one, people were probably expecting from Book One. They have multiple books to...

mikkomikk

SKYWARD QUESTION! I've just read the prologue, did you do anything special to get in to the mind of a 7 yr old girl? Any inspirations for Spensa?

Brandon Sanderson

This one took a few tries--you can probably find earlier readings of it where the age was different, and the speech style was different. As with most things, it's a matter of trying something out, then looking for feedback.

Questioner

You talked a little about short fiction, what do you think about flash fiction?

Brandon Sanderson

Flash fiction I think is awesome, and microfiction. I'm terrible at it. I've tried a couple times.

I've got a good friend... Eric James Stone, he's won a Nebula Award, and his business cards have a story on the back. That's the coolest thing ever isn't it?  I want to steal that and do that but every one I come up with is junk. I mean it takes like eight pages to write my name, so…

Questioner

You're also famous for your magic systems, do you start with the effect you want to achieve or the mechanic you want to use?

Brandon Sanderson

It depends on each magic system, they're all different. Sometimes there's just a really interesting-- Mistborn's a good example of this. I built Mistborn because I wanted a different power for each thieving crew member and I had in the back of my mind a few cool powers to use, but others I just developed. I'd be like, alright, we need something for the fast-talker. So therefore you get the thieving-crew and the classic thieving-crew elements, and I wanted something to improve every one of them. So while I had the Pushing and Pulling already, because that was really interesting and I'd been working it out in my head, I didn't have all these powers set out for the team, so I developed those.

In other cases it's just, you know The Stormlight Archive started with the fundamental forces in physics and extrapolating outwards from them until I had ten fundamental forces because I wanted to do fantastical fundamental forces. So that one started in physics.

The magic for Warbreaker started because my editor called me, true story, and said "ah, after Mistborn and Elantris you've done some very dreary settings, very nice but very dreary, let's do something with more color in it". More color it is!

Brandon Sanderson

Siri Is Rescued

And here we have a big scene that a lot of readers have been waiting for. I apologize for making Siri need to be rescued like this, but I felt it was appropriate to the story. It's because of her teaching the God King and helping him become the man he is that he's able to do this.

Remember that the Seventh Heightening (I think that's the one) grants a person Instinctive Awakening, meaning that once you reach that Heightening, you don't need any practice to learn to Awaken. Your Commands are obeyed instinctively. This doesn't mean that everything you try will work, but that you can make most basic Commands (grab things, that sort) work without having to try. In fact, figuring out most of the more complicated, previously unknown Commands requires a person to be of the Seventh Heightening.

This power grew out of me wanting the upper Heightenings to do some very dramatic things. I do worry that this scene is a little deus ex machina. That keeps me from liking it quite as much as the Lightsong climax or the Denth/Vasher climax. But I feel that a story needs a great variety of climactic moments—some internal character moments, some external skill moments, some great twists, some expected payoffs, some big reveals, and some dramatic rescues. This chapter and the next take a shot at trying to cover a lot of those different types.

Brandon Sanderson

I worry that Susebron is too innocent in his regard for sex. Some readers like this; others think it's unrealistic. He'd have had sexual urges, after all. It comes down to the question, how natural is it? If someone had never had sex before, and had never had it explained to them or had friends to talk with about it, would they know what to do? I'll bet they could figure it out, but I'm not sure it would be something one could simply reason out ahead of time.

Perhaps Susebron's innocence is a bit of a stretch, but I believe it's a possible reaction—if not the average one—to his seclusion.

Brandon Sanderson

Chapter Thirty-Seven - Part One

The Camp Gets Attacked

There's an old adage in writing. If things feel slow, have the protagonists get attacked. (I wonder what literary fiction would be like if they tried this out. . . .) [Editor's note: Pride and Prejudice and Zombies?]

Anyway, I'd planned for this scene to happen a little later in the book, but I felt after Elend's last scene—mostly discussion and wrestling with inner demons—that we needed something quick and action-oriented to speed things up. So I moved the battle up to here and had the camp get attacked.

In a way, therefore, Vin's thoughts at the beginning of the chapter were my thoughts. Finally, a fight! A few of my writing group members echoed this feeling when they got to this chapter, which let me know I'd made the right choice. (Maybe it should have been even sooner.)

AutonomousJoy

As somebody who has little to no knowledge about Magic: The Gathering beyond the fact that it is a card game, could somebody explain how novellas like this fit into everything?

Question for Branderson: How does writing for an already established IP feel compared to writing in your own universes? Do you feel limited?

Brandon Sanderson

It's a good kind of limitation--it helps me think with restrictions, and is good for me in making certain my own pieces remain consistent and rigid in their magical approach. So yes, it's limiting--but so far, with all three tie-ins I've done, I've been given enough freedom that it's been a good kind of limitation.

As for your first question, since nobody else is answering, Magic story these days is told via novellas like this. The creative team works closely with the game team to design the setting and story for a given set, then the creative team commissions or writes stories to post on the website for the fans who want to follow the story as they play the game. (The cards themselves evoke story nicely, but their focus isn't on the narrative, but on the mechanics of the game.)

My novella is a little odd in that I designed it working from worldbuilding materials sent to me, but without requiring it to follow a specific storyline for a set.

Brandon Sanderson

Discussing How to Defeat Ruin

This chapter is mostly intended as a reminder that something larger is happening. I worry a lot that the reader will see the struggles for Fadrex and Urteau as a step down in conflict from book two, where Luthadel itself was besieged. In other fantasy books, the heroes would go on some quest to find a magical object or person that could defeat the dark god for them.

And in a way, that's what they're trying—searching out some mythical answer that may or may not be there. However, my goal with this book was to show that when faced with something as powerful and incomprehensible as Ruin, there isn't much that common people—even Allomancers—can do. They're fighting their best, but how do you even start to deal with something like Ruin?

Brandon Sanderson

Chapter Nineteen

Spook Sees Kelsier in the Burning Building and Burns Pewter

How, exactly, does one write from the perspective of a deranged, exhausted, dying man in the middle of a burning building? This is my attempt. Reading through it now, I particularly like how the imagery and Spook's disorientation come across. It works as a nice component to the previous Spook chapter.

Yes, Kelsier appears to him. Yes, Spook can burn pewter. One of the reasons I decided to soften Spook's craziness in his first two chapters is that I wanted this chapter to stand out in more stark contrast. A sizable number of my alpha readers, after finishing this chapter and the next one, couldn't decide if Spook was in fact burning pewter, or if he had gone insane.

My hope is that since I made Spook easier to relate to in the first two chapters, he'll be considered more trustworthy by readers. The fact that he can burn pewter is very important to the plot's development from this point on.

My other worry with this chapter is that people will read it and think that I'm pulling a "Swiss Army magic" trick on them—inventing new powers and abilities just to get my characters out of trouble. I can assure you that not only is what's happening to Spook here logical and built into the magic system, but you've seen these things happen before in the series as far back as early portions of book one.

If you want confirmation, realize that Marsh was given new Allomantic powers back in the first book via Hemalurgy, something very similar to what just happened to Spook. Also, very early in the series you got to see Ruin influencing people and speaking to them. Note Vin in book one and Zane in book two.

Brandon Sanderson

Chapter Thirty-Five

Vivenna Awakes, Bound by Vasher

This chapter—with what happens in the latter part of it—is the most dangerous in the book. Dangerous to me as an author, I mean. I love good plot twists, but I worry about leaving them without proper foreshadowing. I've never done something as drastic as I have in this book, having a group of sympathetic characters turn out to be working for the wrong side. I hope it succeeds, but I know that if it doesn't, readers will be very mad. Nothing is sloppier than a book with unearned changes in character motivation.

But we're not there quite yet. Before that we have the first real interaction between Vivenna and Vasher. He gives her what he likes to think of as the Nightblood test. One nice thing about having a sword that "cannot tempt the hearts of those who are pure" is that when someone like Vivenna touches it, she gets sick. I didn't want Nightblood to come across as a "one ring" knockoff. He doesn't turn people's hearts or corrupt them. However, in order to be able to do his job and fulfill his Command, he needs the ability to determine who is good and who is evil.

This, of course, isn't an easy thing to determine. In fact, I don't think it's a black or white issue for most people. When Nightblood was created, the Breaths infused in him did their best to interpret their Command. What they decided was evil was someone who would try to take the sword and use it for evil purposes, selling it, manipulating and extorting others, that sort of thing. Someone who wouldn't want the sword for those reasons was determined to be good. If they touch the weapon, they feel sick. If others touch the weapon, their desire to kill and destroy with it is enhanced greatly.

Nightblood himself, unfortunately, doesn't quite understand what good and evil are. (This is mentioned later in the text.) However, he knows that his master can determine who is good and who is evil—using the sword's power to make people sick, or through other means. So, he pretty much just lets whoever is holding him decide what is evil. And if the one holding the sword determines—deep within their heart—that they are evil themselves, then they will end up killing themselves with the sword.

Vivenna passes the test, which surprises Vasher. He thought that she'd be the type who would use Nightblood to kill and destroy. (He doesn't have a high opinion of her, obviously. Of course, that's partially because he's let his temper dictate what he thinks.)

Brandon Sanderson

Chapter Seventy-Three

Cinematic Writing

I sometimes wonder just how much writers from my era have been influenced by the visual media of entertainment we've experienced. How do I imagine things differently because of my childhood watching television and movies? What have the improvements in special affects done for my ability to visualize things I have not seen? How does my pacing, plotting, and description reflect my background and my exposure to media?

I look at a chapter like this one, and it feels extremely cinematic to me. Not that I'm some great master of the cinematic form, but rather that I'm so familiar with that media—as are many of us—that I am drawn to it instinctively.

The quick flashes from viewpoint to viewpoint—TenSoon, Breeze, Elend—showing what was going on, followed by a quick cut of Vin mid-action . . . it just feels right to me to do it this way.

Brandon Sanderson

Chapter Forty-Five

"Reen" is Ruin

Did you really think I'd bring Reen back?

Well, maybe you did. It's all right if you did; we in the fiction world have kind of acclimatized people to strange resurrections of long-dead characters. I'd guess it's due to one of two things. Either 1) The author is so attached to the fallen character that he/she wants to have them return or 2) The author wants to do something completely unexpected, so he/she returns to life a character the reader isn't expecting.

Unfortunately, both answers are based on emotions outside of what is commonly good for the actual plotting of the story. Do this enough, and readers are required to stretch their ability to suspend disbelief. This sort of practice is part of what earns genre fiction something of a bad reputation among the literary elite. (How can there be tension for a character if the reader knows that death doesn't mean anything?)

The trick with saying this is, of course, that I'm as guilty of this as anyone. I've got two books in the works where I'm planning deaths and resurrections—though, of course, I'm building in these elements as plot points of the setting and worldbuilding.

Beyond that, there are lots of instances where this sort of thing is appropriate in fiction, and where it works. After all, one of the reasons to write fantasy is so that you can deal with themes like this that wouldn't work in mainstream fiction. I just worry that we, as a genre, are too lazy with ideas like this. If we push this too far, we'll end up where the comic book world is—in a place where death is completely meaningless.

Samuel Montgomery-Blinn

How much did you focus on writing The Alloy of Law as a starting point for readers who were new to Mistborn? Was it hard to balance writing for new readers versus wanting to give your existing readers a "welcome home"?

Brandon Sanderson

It takes place hundreds of years after the trilogy, so there was enough that I had to bring longtime readers up to speed on that it felt very natural to write the book as a potential new starting point, just because the world had been updated so much.

That said, I did make sure to slip in lots of fun things for those who had read the original trilogy, that are callbacks or that show how the world got updated and how it grew. I was conscious of the book possibly being a new starting point, but it's more that it felt natural for what the story required, as opposed to me sitting down and trying to force the book to be a new starting point.

Questioner

When you write a book, do you start from the first page and go page by page or-?

Brandon Sanderson

Good question. I do. I write straight through, I outline backward. So I start my outlines at the end-

Questioner

When you have an idea about something in the middle, you-

Brandon Sanderson

-add it to my outline. I don't write it yet, because for me my characters are on journey and if I don’t write chronologically, I don’t how the characters' emotional states would be when I get to that scene.

Questioner

Did you always envision the way that Legion ended?

Brandon Sanderson

No, I did not. That is one I worked out-- I didn't have an ending in mind for Legion when I started. So when I sat down and said, "What ending am I going to write?" This is the one that evolved out of that, but that one was more-- I outlined the story, but it was more of a discovery written ending.

Questioner

It was fascinating. I loved it, but I was really surprised.

Brandon Sanderson

It is perhaps one of the oddest things I've done.

kakarotoks

As for Skyward, you said before that you got stuck because you weren't liking it, then you finally figured out how to fix it, will you write a blog post after release about how it was before and what needed to be changed to make it fit your standard?

Brandon Sanderson

Did I say that about Skyward? I got stuck on Apocalypse Guard, and pulled it for that reason. I don't believe I had any big issues with Skyward that weren't up to standards, just normal revision issues. The biggest hurdle came long before writing the book, as I was trying to figure out ways to approach this plot archetype in a way that wouldn't simply be a rehash of what people have done before.