Regarding Dysian Aimians. The cremlings that make them up are spread about in a large area--
They can lose touch if the distance is too far. They can lose contact with the mind of the whole thing.
Would their Cognitive aspect be affected by that?
Yes it would be. I'll just leave it there, but yes.
With the Shards and them kind of splitting pre-Adonalsium, was it really Shattered on Yolen or is there a different place?
Well, it gets a little sticky for various reasons, but you can assume that that's a yes, that what it appears to be is correct. Dragonsteel and the story of Hoid takes place on Yolen but it gets messy, because there's some weirdness about the planet.
You mentioned White Sand Volume 3. Do we have a release date for that?
We do not have a release date but the script is done. We like the script. We've fixed slatrification, we hope. The ending is much improved over the novel in our humble opinions.
You published that as part of Arcanum Unbounded--
Just a sample. If you want to read the whole prose edition, just sign up for the newsletter. It sends you a link to download it. Or you can just ask from the 17th Shard. I let them distribute that. The ending of that has one really good element and one really bad element, and we took out the bad element and focused on the good element. I think it really kinda came together.
I know about Harmony but is it possible for like two Shards to procreate and make a brand new Shard?
That is a Read And Find Out. Assume I'm not hiding too much from you in that realm, but there will be some fiddly bits as we go further in the cosmere about stuff like that.
What would it take for a member of the Seventeenth Shard Shard to convert over to a member of the Ghostbloods?
Oh, the Ghostbloods would actively recruit from them. So, I think it would not be terribly difficult. It 's gonna depend on which kind of Seventeenth Sharder. Because there are a lot of non-field-agent Seventeenth Sharders, which would be less interesting. Field agents, they would actively recruit.
So, the sixteen Shards. Is it possible that there are more than sixteen, yet they do not know of them?
This would be possible but I'll just go ahead and tell you no there aren't. *laughter* That'll stop a lot of theorizing, though it is possible that Shards have been divided and things like this. And so you can call two subsets-- But it's kind of like there are twelve tribes of Israel. They became twelve other tribes of Israel. There were still twelve because two were the sons of one. Yeah, stuff like that.
If you were a Smedry, what would your talent be?
I base most of the talents of the people in the Alcatraz Books off dumb things that I do. So I am famously bad at dancing. Famously. So I would definitely have that one. I am always late; that came from me. (Though really, secretly, it came from my mom; 'cause she is even more late that I am.) Most everything thing in there is me. But I would say probably "bad at dancing", that would probably be my best, because I am just really bad at dancing. It's not even in a funny way, it's just in a boring way.
When will you clear up the things at the end of Bands of Mourning?
That is mostly setup for Era 3 of Mistborn. You can find some answers in Arcanum Unbounded; if you haven't read that, I would recommend that. If you get the the end of Bands of Mourning and you're like "huuuuh?" there are some answers in Arcanum Unbounded, but mostly I'm doing stuff that is Era 3 of Mistborn, which will be written after Stormlight 5. There will be a Wax & Wayne 4. Wax & Wayne 4 will touch on these, but it's not the central theme of the Wax & Wayne books; it's the central theme of Era 3.
Will we ever find out more about Vessel of Ruin?
Yes. I will eventually write Dragonsteel, which is Hoid's backstory; you will find out about all the various Vessels of the Shards of Adonalsium then. It is a little ways off; I'm going to finish all of Stormlight before I do that. It will be the the next thing after Stormlight 10.
What was the inspiration for Sazed's spiritual turmoil?
He came from several ideas. One idea was the missionary for all religions. Which was that the cool concept, that originated his story, was someone who tried to fit a religion to someone like you fit shoes to somebody. "Let's find the right one to fit them." When I was developing that character and working on it in the outlining process, and after I tried a few scenes and knew that I liked who he was, the question that followed up is, "What does he really believe?" As I developed the character, I settled on "He doesn't know," because that's not what he does, he tried to suit to other people. I knew that the story had to put him in a crisis of deciding what does he actually believe, and what is his belief system, because that is who he is. The inspiration of that was simply growing out of who the character was as I saw this character, and trying to create a crisis that would force him down that path, to make the hard decisions.
So I have never read this to anyone before. In fact no one has seen it in ten years. It is not canon, but it is where Taln as a character started. If you're not familiar, Taln is the crazy guy that shows up at the end of Way of Kings. And here is how his first scene went in the original Way of Kings.
Taln awoke from a dream of agony and screams. Two things occurred to him immediately. First, as a Herald, he should not need to sleep. Second, as a Herald, he definitely shouldn't dream.
He frowned, sitting up. The last few days were a blur in his mind. He had come to the city, and he remembered his arrival and his bursting in on some sort of feast or party. Beyond that, the Sign hadn't worked.
Taln hissed in surprise, thrusting forward his hand, trying to manifest the Nahel bond within him. Nothing happened. What of his other powers?
He analyzed his surroundings with a quick glance. He was in a long rectangular chamber set with beds along both walls. The room was set with stone pillars and the windows were shaped with triangular peaks. In fact, the architecture had a great number of angles and lines. He was probably in the Alethi section of the city.
Many of the beds were occupied with the lame and the sick. And the men tending them wore undyed tan robes, some with the glyph Ele, the mark of the priesthood. There were two long doors leading out of the room and the windows provided an alternative exit. They looked wide enough to be broken with relative ease. A table would probably do it.
There was a small chair beside his bed, and a chest with amber knobs. He reached out, blessing his fortune. He had the sourcestone of Stonewarding. He touched the amber, seeking to draw upon its power, and again, nothing happened. Taln withdrew his fingers, frowning. Something was very, very wrong.
Why won't my Stonewarding work, he thought with frustration. And the Sign. I need information.
He scanned the room again. His mind was far less fuzzy than it had been. Images, places, and thoughts were all becoming more clear. There were only two monasteries in this section of the city, unless new ones had been constructed. Lighthome and Mercyhome, of which Lighthome was a female monastery.
One of the attendants noticed Taln was awake, and the man waved over an older monk. The elderly man regarded Taln with a displeased expression, whispering to his companion in a voice most men probably wouldn't have been able to overhear. But Taln was not most men.
"Where's Brother Lhan?" the elder monk hissed. "He should be here!"
"I'll fetch him," the other monk promised, bowing his head in deference, then rushing off.
The older man cleared his face of displeasure, smiling reassuringly toward Taln. He had a large nose and grizzled features and his hands were callused.
"I see you finally awoke from your slumber, traveler."
"Yes, holy one," Taln replied, still bothered by the fact that he had fallen asleep in the first place. "Thank you for caring for me." He flexed his arm, testing his muscles against their extended immobility. "It seems I've been out of sorts these last few days. How long was I asleep?"
"Four days, off and on," the senior monk explained. "You were awake for much of the time, but you seemed unable to focus."
Four days. Taln shook his head. Yet he could feel the weakness in his mind, the whispers at the edges of his sanity. It was getting worse each return. Perhaps that was the reason for his apparent slumber.
"I must say, traveler, you seem far more lucid than you were when we first brought you."
"I feel far more lucid, holy one," Taln said with a smile. He raised his sheet, noticing he was still naked. Hopefully the monks would loan him some clothing, though he doubted anyone was going to give him a weapon any time soon.
"Tell me, traveler, what do you remember of yourself?"
Taln raised an eyebrow. "Are you asking if I still think that I am a Herald?"
"In not so many words."
"My problems of the last few days were not related to my identity, holy one," Taln said. "I am a Herald. I will not lie to you. That would do us both a disservice."
"I see," the monk said, his disappointment apparent.
"However," Taln continued, "I don't expect you to believe me. The Sign did, after all, fail. I'll have to solve that problem before I can move on to other items. For now, let's suffice to say that I was a traveler in need of your assistance and you provided it. The Almighty bless you for that."
The monk smiled, glancing to the side as another brown robed form, looking a little disheveled, entered from the north hallway. "You're welcome to stay with us as long as you need, friend," the elderly monk said, gesturing toward the newcomer. "Brother Lhan has been assigned to care for you. He will travel with you and make certain you are acquainted with the city."
In other words, he'll make certain I don't get in trouble, Taln thought, smiling and nodding his head as the elder monk backed away to care for other patients. Taln was pleased to note that this Brother Lhan was carrying a folded pile of clothing for him. Lhan was a younger man, probably in his early twenties. A bit on the pudgy side, with an unconcerned oval of a face.
Lhan blinked tiredly as he approached, and his left cheek was still imprinted with the lines of whatever he had been lying on before they woke him. Lhan yawned as he pulled a stool up beside Taln's bed, resting the clothing on the floor in front of him.
"Greetings traveler. Welcome to the glorious Mercyhome monastery."
"Thank you," Taln said, reaching immediately for the clothing. "I assume these are for me?"
Lhan nodded, yawning again.
"I'm sorry they woke you," Taln said, picking through the clothing.
Lhan shrugged. "It's my own fault, I really should get a better place to hide."
Taln raised an eyebrow at the comment as he examined the clothing. The cut was unfamiliar to him, though fashion changes between returns were normal. The trousers were loose through the legs and ended in wide triangular cuffs halfway down the calf. The shirt was equally loose, probably intended to be worn tucked into the pants and tied with a sash. There were undergarments as well.
The most important article, however, was the thick brown cloak. A piece of Rosharan fashion that would never change. Cloaks were necessary even in the summer to ward off highstorm rains. All the clothing had been crafted from <shanaw>, a plant whose bark was stringy and fluffy enough to be spun. It made for rough fabric. Fortunately all of the cloak had been treated in such a way to make it soft to the touch. Taln nodded in satisfaction.
"Brother Lhan," Taln said, "Please run and fetch me some thread and a needle."
"Excuse me?" the monk asked.
"You and I are in a forced relationship,"Taln said. "Your superiors obviously expect you to keep me from causing serious trouble. If you want my cooperation in this, you'll want to make yourself useful."
Lhan raised an eyebrow. "How very economical of you."
Taln sighed, regarding the man. "I'm not trying to be difficult, Lhan, I'm just trying to save the world. A needle and some thread would be very helpful."
Lhan rolled his eyes, rising from his stool. "All right."
"Oh and bring me some rocks," Taln added. "Small ones, maybe half the size of your fist."
"Rocks?" Lhan asked.
"Yes, rocks. This is Roshar. Last time I checked, which admittedly was several centuries ago, they were fairly prevalent here."
"Rocks," Lhan mumbled again as he walked off.
Taln was dressed by the time Lhan returned. He accepted the thread, needle and rocks from the monk, and began sowing the flap of the hem of his cloak.
The monk sat down, regarding Taln with curiosity.
"The second thing I'll need from you, Brother Lhan, is information," Taln said, pulling the thread tight.
"Ask away."
"What year is it?"
"Tenth Epoch, 980," Lhan replied.
Taln paused, needle halfway through his stitch. "980?"
"Yeah," the monk said. "Not that I've seen the daylight for the last ten years or so, but at least that's what they tell me what year it is."
980. Nearly a thousand years since the last return. That's a long time. Something must have happened to the <cofen> That was the old name for the voidbringers]. They had never waited that long between returns before. "What happened to the epoch kingdoms?" Taln asked
Lhan didn't respond immediately. "You're kidding, right?"
"Pretend I'm not."
"They fell, right after the beginning of the tenth epoch."
Taln closed his eyes, sighing to himself. He hoped it wasn't true but.. "What about Alethkar," he said. "It obviously still exists."
"Well a lot of the kingdom is just a name," Lhan explained. "It's always a good idea to use one of the old names when you found a kingdom. Makes you seem more legitimate."
"Which ones still stand then, even if only in name?"
"Alethkar, of course." the monk said, "And as the king told you, we've expanded a bit over the last few years. Thaylenah still stands, by itself on that island over there. So its borders stay pretty stable. Vedenar is now called Jah Keved, though it's ruled by three Veden houses with a figurehead as its leader."
"That's it?"
"Well Shinovar is still there. But no one really pays much attention to them. The rest is gone. Kingdoms sometimes try to claim their names, but mostly they're uninhabited. Especially <Rianat>. There's enough bandits over there to form their own kingdom."
Taln nodded. It wasn't as bad as it could have been, but... "Vorinism is still strong, I assume?" Taln noted, reaching for the rocks that Lhan had brought him.
"Always will be, Almighty willing," Lhan said in a beautiful monotone, his piousness weakened slightly by the extended yawn he made in the middle of the sentence.
"If the Vorin religion is still in power, " Taln said, "How is it that no one takes my claim to be a Herald seriously? Have you forgotten about the cycle of returns, the coming of the cofen? The religion was founded to prepare for such things."
"Well, we've kind of had to change our focus during the last epoch. You did, after all, promise that you weren't coming back any more."
"What?!" Taln froze, glancing up.
"At the end of the last return," Lhan explained. "The Heralds disappeared and said they weren't coming back. That the cycle of returns was through and the cofen had been defeated."
"That's not possible."
Lhan raised an eyebrow.
"I wouldn't be here if the cycle of returns were over." Taln explained. "Trust me. Which of the Heralds proclaimed this?"
"Well I'm not sure. It didn't become the official doctrine until about the fifth century, I think."
"Why so long?"
"You're kind of asking the wrong monk, actually. Actually, the wrong monastery. The order of Ishar contains all the history experts. This all happened a thousand years ago."
"But it's your theological heritage!" Taln said.
"So the senior monks are fond of telling me."
Taln stood, putting on the cloak.
"You sewed rocks into your hem. How very odd of you."
Taln spun, turning a few times to judge the motion of the cloak. Then he turned to the side in a quick motion, pulling the garment off with a smooth gesture. He nodded to himself, putting it back on. "For weight." Taln explained "A weighted cloak is more easy to position in battle and more easy to remove quickly." You could also use it as a surprise weapon, though he didn't offer that bit of explanation.
"Oh," Lhan said.
"What did you think I was doing?" Taln asked with amusement, sitting down on the bed without removing the cloak.
"I wasn't sure," Lhan replied. "I figured you were confused. You are, after all, crazy."
"You're not a very subtle one, are you, Brother Lhan?"
"I make up for it in sheer laziness," Lhan replied. "What are you doing now?"
"Pockets," Taln said, getting out of the cloak again. "Do you mind if I cut up this blanket?"
Lhan shrugged. "It's the kind of thing they expect crazy people to do, so I guess it's okay. But you'll have to tear it. I'm certainly not giving you a knife."
Taln frowned but did as requested. "You seem surprisingly flippant with regard to my supposed lunacy. Aren't you afraid I'll become violent?"
"You're not the violent type. I've seen your type come through the monastery a lot. I also know you can't be talked out of who you think you are. My job is simply to make certain you don't accidentally hurt yourself or anyone else, especially not me."
"You have experience with my type, then?" Taln asked.
"I tend to get the more undesirable assignments"
"I wonder why." He fell silent as he worked, turning his thoughts to a topic he'd been avoiding. What was he going to do? Normally he had the other Heralds to decide the plan. But he appeared to be the only one who'd reached the city. He needed to find the others and that required one thing. His sword. It had been taken from him. He remembered that night of the feast only vaguely.
"My sword..." he said.
"That was confiscated," Lhand said. "You didn't exactly make a good impression on the king. Enduring perhaps, but definitely not good."
"There was a woman," Taln said. "She saved my life."
"Lady Jasnah" Lhan agreed. "The king's sister. Don't assume she protected you out of fondness. Lady Jasnah is about as compassionate as a sleeping chull. Even her breathing is politically motivated. No one's certain why she pled for you, but most think it was some kind of stunt."
"Either way, I owe her my life," Taln said. The loss of his weapon was troubling. With it, he could sense the location of the other Heralds. It would be the easiest and fastest way to find them. Assuming, of course, he thought, that the Blade's power still worked.
Taln paused. A feeling of dread struck him. Stonewarding didn't work, and he couldn't manifest the bond. If he'd lost the sword as well...
The window light turned red. Taln gasped, feeling dizzy. An expression of concern actually crossed the monk's face.
"Are you all right?" Lhan asked.
The monk burst into flames. The windows melted. Bloodred fire ripped up the sides of the building, pooling at the top and bearing down on Taln with its heat. Smoke rose from the suddenly ignited beds, curling ominously, bringing with it screams, sudden, formless screams, that came from the far edge of the room.
Taln looked up. Fire roared and something moved within it, something dark. The screams mounted, pulsing in his ears, searing him, flaying him.
"What's wrong?" Lhan asked, still in flames, his flesh melting from his face.
Taln closed his eyes, grabbing the sides of his bed, pushing the screams away. He shivered, exhaling a long, demanding sigh. When he opened his eyes, the room had returned to normal. He sat for a few minutes, breathing deeply.
"I'm fine," Taln finally said, forcing himself to stand up and look at his new cloak. It had one large pocket and two smaller ones, and a small ribbon at the back to hold a hidden dagger, if he ever managed to get his hands on one.
"I assume I'm allowed to leave the monastery?"
"So long as you take me with you," Lhan said, "but.."
Taln raised an eyebrow.
"You're kind of expected to go work in the royal mines, "Lhan explained. "To help pay for your keep."
"No one is going to force me?" Taln clarified.
"Well, no."
"Good," Taln said. "We're leaving."
"Umm...Where are we going?"
"To get some information."
"Oh, you mean my wealth of accumulated wisdom isn't good enough for you?"
Taln turned, eyeing the monk with a suffering eye, then waved for him to follow.
Who is going to be the antagonist for Stormlight Archive 4?
I can't answer that without giving spoilers, so you get a RAFO.
You see, in a few places, Shards that can read people's minds, or send thoughts to people's minds. What, in other settings, would be called telepathy. Do we have, in any Shardworlds, a magic system where ordinary people have telepathy?
I've actually designed one that I think is interesting, whether I will make that work or not, I'm not sure. But there is a very interesting world, one that i have right now in the Cosmere, that we will see. I try not to canonize these things till I actually write the story. As happened with Silence Divine, where people have been for six years, "When are you going to write this story?" Because I wrote one chapter of it.
But yes, I do have something that works that way.
How old is Taravangian?
Taravangian is in his 80's, I believe. He is not immortal, he has not lived an extra long time. He might be 70's local time.
How many kids does he have? If he has all these granddaughters running around.
He has a number of children, but I have not defined it.
Were they all with the same wife?
No. That, I have defined.
Were they all by a wife?
A better question. RAFO.
Was he as much of a stud as Spook?
RAFO.
A long time ago, where you said that Pailiah was the elderly ardent in Kharbranth that Shallan saw, is that right?
Yes? If you say I said that, then I did.
Does that mean it is still true?
Let's just say there is a Herald in close proximity to Taravangian.
It was in a signed book but we never got a picture of it.
There is a Herald in close proximity to Taravangian. I'm not being sneaky about that.
Is there more than one?
There have been in the past, but there is only one that you would call influencing him right now. But there have been others in the past.
But then [Hoid] has to have a flute [to Lightweave], I don't think he had to have the flute? He thought he had to have help [Lightweaving], so he found other things instead of spren. Is that right Brandon?
[Asking for clairification on question not contained in audio]
In Way of Kings?
*Makes RAFO face*
Where you *inaudible* Hoid as a Lightweaver in Era 2?
Hoid was a Lightweaver in Dragonsteel.
I mean a spren Lightweaver. Unless the timeline's still, really--
Meaning was I planning for him to become a Lightweaver?
Before Era 2 since we thought Era 2 was going to be Era 3.
Hoid has never quite stopped being a Lightweaver. He is very happy to be fully empowered with things.
Does that mean he was not fully a Lightweaver?
You will find out someday. His magic was not fully functional, but he was Lightweaving in Way of Kings
Hoid and Vasher, can they recognize each other?
It depends on what Hoid looks like at the moment. He is very good at making himself unrecognizable.
So on Ashyn, was the magic system always diseased based?
That was the diseased based magic.
Yeah, before-
I'll RAFO that. It isn't exactly the same as it was.
Hoid and Vasher/Zahel, they haven't been seen on screen together. Have they been together? Have they met?
Yes.
Are they aware they are both worldhoppers?
I wouldn't necessarily go that far.
Both Tien and Kaladin are Radiant, you talked about how that wasn't hereditary, and how that was more because of where they were with association. Was it because they were associated with the same person, or the same place?
Yes, Connection influences spren.
Right, but was the Connection to a person that they were around?
Connection to people.
So not necessarily the place where they were?
Right.
Because my way of thinking it might be with the people is because, like with the Purelake on the Cognitive Realm there would be more spren hanging out there because that was more land, right; so if you spent more time on that you would have more spren around you. So if you're closer to more water, you're closer to more spren.
That is not an irrelevant observation.
Is a Herald being able to sense where the other Honorblades are still canon?
No. It's possible I will decide to canonize it, but right now it is not.
You said in a previous question and answer that there was Cultivationlight, possibly. Since Lift is aligned to Cultivation, does she actually use Stormlight?
That's a RAFO. You know I'm staying away from this.
So, Hoid. He seems to know all of the legends and lore in the worlds he goes to. Is this by mundane or magical means?
Both!
What would happen if Lift ate aluminum or other Allomantic metals?
Lift would not be able to do anything with Allomantic metals. Good question.
Does that include turning them into Stormlight?
Yes, that includes turning them into Stormlight.
Is Spensa's race left intentionally vague in Skyward?
Yes, it is.
So how do you feel about the new US cover, which depicts Spensa as white?
That's something the publisher decides, it's out of our hands.
How many spren would it take to make a Shardtrebuchet?
A Shardtrebuchet? Oh, trebuchet memes. But it could be done with one spren if it were the right spren.
Can a bracelet created by Navani be used to detect emotional Allomancy?
This is possible.
You pulled Apocalypse Guard, will it ever come back?
I sat down with Apocalypse Guard and looked it over and since I couldn't decide what was wrong with it, I actually gave it to Dan Wells, who's a friend of mine, and I said, "Dan, can you figure out what's wrong with this?" We broke in together, we've been in writing groups together for a long time, and he read through it and he's like, "Yeah, I've got some ideas." So I actually, you know, wanted to work with him, so he actually jumped in to try and do a draft of it himself, and he fixed a lot of the problems, but he didn't fix the biggest problem, which is that the worldbuilding doesn't work.
Which is a really weird thing for a Brandon Sanderson book, but it's part of the reason we can't release it. I can't release a book with bad worldbuilding. I just can't. So while he fixed the characters, I still need to fix the worldbuilding. If I can, we will release it. If I can't, I'm sure even if I don't ever release it, I'll find a way to put it on my website or something like that. So you would be able to read it, and if we do release it, I'll make sure to release it in the failed version too for those who are interested so you can compare. So I think it's really illustrative to see how a professional fails.
What happens when you flare copper?
What happens when you flare copper? Various different things can happen when you flare copper. I'll RAFO that for now. [...] I'll delve into that more, I don't want to delve into it too much right now, you'll find out, probably in Era 3, some of the things that can happen with copper.
When the Internet develops somewhere in the cosmere, will Hoid become a forum troll?
You bet he would. He would probably be like KenM.
Would you be willing to confirm that the use of 'they' pronouns for the Sibling is because the Sibling is non-binary? Since apparently some people are confused on this point.
The sibling did not view themselves as male or female. (And considered it odd that so many spren would adopt human genders.)
Would Soothing/Rioting have more, less or equal effect on Hoid than regular humans(if he can burn copper, lets assume he isn't) If the effect is not equal, is it due to him being much more Invested than normal beings or some other factor?
RAFO.
Would a [singer] get sick if it drank highstorm rain water before letting it sit, or would it get sick like a human?
[Singers] don't get sick from this like humans would.
A question regaurding Feruchemical iron:
So, while Sazed was guarding one of the gates to Luthadel, he tapped weight to compensate, he had to tap pewter as well. Also, when he was climbing a tree, his strength to weght ratio rised, making it easier for him to climb it. Wax doesn't have to do this- when fighting Miles on the train, he's fine without any sort of muscular enhancement, and when he is climbing in the sets base, he notes that he does not make himself lighter because it would simply decrease his weight and strength equally (in contrast to Sazed climbing the tree).
So, is this difference for the same reason people can push/ pull on atium, being the you hadn't fully developed your idea for the cosmere yet? Or is it some other reason?
Hmm. I think the mistake is more on me writing the Wax scene than in the original. (For him climbing, specifically.) I'll put Peter on this and see if it's a continuity error we want to fix.
What's next for you with this series and in general?
My outline for Skyward calls for four books. The sequel will come out a year from this November. Starting in January, I plan to work on the fourth [book] in The Stormlight Archive, and that'll take about 18 months. I split my time between that series and other projects to prevent myself from getting burned out. When I finish a big epic fantasy, I need something different to get excited about for a while. So I'll jump back into this series after the next Stormlight.
There’s a climactic moment near the end involving Spensa and M-Bot, which felt rather cinematic. How did it feel to write that scene?
I love those ending moments. I outline my books backwards, starting with the moment I want to earn, and then the whole goal of writing the book is to earn those moments.
Are there any particular messages that you hope readers will take away from this book?
I don't really go into books with a message. I like to explore the characters and their passions, and the theme, without any overt agenda. I just want readers to be able to see through the eyes of people who are different from them, to see that our biases do affect how we perceive the world—and that's both a good and bad thing. I just want them to come out of the story saying, "That was great, let me think about this some more."
Something noteworthy about your work is the massive interconnectivity. Is Skyward connected to any of your universes or continuities?
It's connected to a novella I wrote, which explored an interesting premise in faster-than-light travel. I prefer not to publicize which one, because the spoiler at the end of that story related to a twist near the end of Skyward. This isn't connected to my big epic fantasy universe, the Cosmere, for several reasons. First, the way space travel is possible here doesn't work with that setting. Also, this incorporates lore from Earth, and I try to keep Earth and the Cosmere very distinct and separated.
What kind of research did you do?
Mainly, it was about fighter pilots and what they go through, what g-force feels like, stuff like that. I'm indebted to a couple of real-life fighter pilots for helping me to get it right. Also, I had to research what it's like to live in societies where the machine of war grinds people up out of necessity to keep the country alive, what it does to them. I took inspiration from real-world regimes to create an amalgamation, which still doesn't go as far as it could have. I just included subtle markers to the reader to suggest the sort of stress they live under.
One thing we tend to expect in YA is the presence of romance. There's no real sign of it in Skyward, though. Was this your intention from the start, or did the characters just not work out that way?
It was more the characters. In my first draft, I tried to shoehorn a romance in. I like romance; you'll find them in my adult books. But here, it didn’t fit the characters or the theme, and it felt inappropriate. This is a very traumatic time for Spensa, who's focused in every way on becoming a pilot and finding out the secrets of her past, and romance just didn't work. So I revised in the direction the characters demanded.
The obvious pairing was Spensa and Jerkface. That’s where I was trying to go, but it felt like a cheesy romance in the middle of an action-adventure story about finding out who you really are, and about going into battle, and all of that stress and pressure. Maybe someday I'll release the deleted scenes and people can see how poorly it worked.
Spensa comes across as overconfident and bombastic at times, while her AI sidekick, M-Bot, is both comic and tragic. What else can you tell us about developing characters?
They really play off one another. With M-Bot, I needed both a friend and a foil for Spensa, since there's a lot of conversation between them. I also needed an outside perspective. Spensa's culture has problems. Humankind crashed on this planet decades ago, and has been subject to these alien invasions and air raids for so long, that their entire society is built around the machine of war to protect themselves. The technology and temperament revolve around getting pilots into the air at all costs, and it’s skewed everything as a result. I needed an outside voice to ask questions and raise concerns, even if it's through humor.
Because Spensa is such an extreme character, one of the challenges was to depict that a person who's spent most of her life alone, hunting rats, while imagining herself to be a great warrior, is going to have a warped perspective on what it means to be a fighter pilot, weirder than the rest of the society might.
In a way, she's a stand-in for someone like me, who enjoys larger-than-life action movies but has never experienced real violence. She’s like the person in the seat with the popcorn, who’s confronted by the reality and discovers it’s not what she imagined.
What was your inspiration for Skyward?
Ever since I was young, I’ve loved the quintessential "boy and his dragon story." My favorite is Jane Yolen’s Dragon’s Blood. It was one of the very first fantasy books I ever read, and it left a lasting impression on me. But there was also Anne McCaffrey’s The White Dragon, Christopher Paolini’s Eragon, and the How to Train Your Dragon film series. I love this archetype of story, and I’ve always wanted to do one, but I held off until I could find a new direction in which to approach it. Eventually, it drifted away from "a boy and his dragon" towards "a girl and her spaceship."
About four years ago, I hit on this idea, but I only had the framework. I still needed setting, characters, things that would really make me excited about the entire story. As a writer, it’s always about digging down deep into what I love about certain stories—what are the essential elements, what are the concepts that thrill me, and can I build those back up into something new? The more I built this back up, the more excited I became.
For most things, like worldbuilding and plots, I do outlines. But characters develop by instinct, as their voices emerge. The character of Spensa came to me almost fully formed. I was intrigued and enthralled by the idea of this girl who had been raised on stories from our world, the myths and legends, even ones we know are fiction like Conan the Barbarian. She sees herself as the latest in a long line of warriors, except her actual job is hunting rats and selling them for meat on the street. She has this idea of who she should be, what her destiny is, but in real life she’s just barely getting by. Characters come out of conflict, and hers is the contrast between what her life is like and what she thinks it should be, the difference between perception and experience.
Is it really the end? Could you ever potentially come back to Legion?
I'd like to do more with Legion—though it's likely to be in the form of other media. We have a television show in the works, and I've toyed with doing some original audio stories with Stephen in the lead. (Though the Marvel show Legion probably means I'll need to change the name of mine if we do get the show off the ground.)
You've talked a bit elsewhere about how this is some of the most personal storytelling you've done. What do you think you've discovered or uncovered through exploring mental health and the mind through the story of Stephen Leeds?
I am often quite certain I know (in general) what a reader's reaction will be when I release a story. That's part of my job—to create something that produces an emotional response. Art is the act of inspiring emotion. Once in a while, however, I do something for the emotion it inspires in me, with less regard for how I think it will be received. Of course, usually these two are one and the same—the emotion it gives me will be the emotion most readers will feel.
This story is different. It is partially about mental health, yes, but it's also about the voice of a storyteller finding balance between all the voices crying for his attention. It's about the unwritten stories.
You see, as a young writer, I never worried if I'd have time to get to all the stories I wanted to tell. I was far more focused on whether or not I'd even have a career. I wrote assuming that if a story didn't work now, I'd eventually find a place for it. But as I've grown older, the realities of aging have begun to whisper to me that I need to stay focused—that if I want to complete my life's work, some other stories will simply have to be abandoned. That has been a hard realization. I don't know if anyone else will see that meaning in this story, or how this even relates—but it is certainly part of Lies of the Beholder for me. That's the part I say is very personal, but which means it's more difficult to gauge how readers will respond—because so much of this is a very individual story.
The mysterious Sandra plays a big part in this final story—did you know from the beginning what her role would turn out to be or was this ending a surprise to you? (Without spoiling anything, of course!)
With my shorter works like this, I tend to let the story evolve over time more than I do with longer stories. This means more discovery, as I'm not sitting down with a framework—the goal, often, is to practice other skills in my writing. (Things that my novel writing doesn't teach me.) In this case, I had ideas for Sandra, and some of those ended up going all the way through—but some I discarded over time. I'm not one who is "surprised" by my writing, however. I don't generally like that phrasing. Sometimes as you're working on a piece, you discover a thread or theme that intrigues you—so you dig into it further, then develop it. Sometimes this means the final piece of art doesn't match the outline. It's not really a surprise so much as a common side effect of the writing process.
I'm curious how you develop Leeds' aspects. Do they come to you fully formed? Did you get attached to any of the aspects in particular as you write them? Do you have a favorite?
Generally, I don't play favorites with characters. If they all haven't been my favorite at some point in the writing process, then I'm doing something wrong. But creating characters, at the same time, is the most difficult part of the process for me to quantify. No character comes fully formed; it's always a struggle to find their voice. Yet I always know that voice is out there to find, and have an instinct for when it's wrong. So the process of finding it is more a search than it is a building project.
Lies of the Beholder finds Stephen Leeds in a more precarious place—psychologically and otherwise—than we've ever seen him. What are the challenges of writing a character like this with so many aspects? Was this a difficult story to write?
This was a very difficult story to write, but not because of all the aspects. They've always made the story easier, not harder. Being able to take an individual's personality and split it into various themes and ideas...well, that was fun, and helped me understand him a great deal.
The challenge of this story was finding myself wanting to explore the more philosophical and conceptual side of what it means to be Stephen Leeds—and why I related to him specifically as a character. I had to decide if I wanted this ending to be like the other two novellas—pretty straightforward detective mysteries—or if I'd let myself go off into something more conceptual.
In the end, I went more conceptual, which I felt was appropriate to ending this series. However, it does mean this story was a challenge in that I was dealing with some heady themes while trying to do justice to the actual mystery. I'm not 100% sure if those two ever ended up balancing right, but I do think this was the correct way to go with the ending.
Before we jump in on the third installment [of Legion], can you tell me a little about where this idea came from and how it developed into this novella series?
I was talking with my friend Dan Wells, who was writing a story about a schizophrenic. I started brainstorming this idea about a person whose hallucinations helped them, kind of turning it into a super power. Dan laughed and said, "That’s much more a Brandon story than a Dan story," and he was right—so eventually, I decided to write it myself.
[Discussion of Lightweavers manipulating other forms of electromagnetic radiation]
But the ultimate form (That Brandon said would be too much to be practical both in needed stormlight and application) would be the control of Gamma Radiation. If this could be harnessed, Lightweavers could literally become mini nukes, or death guns. The biggest downside to making Gamma radiation would be the damage the lightweaver would most likely suffer. So gamma radiation is impractical but its a fun thought experiment.
The best part of this whole speculation was how excited Brandon was about my train of thought. I don't know if anyone had brought up this train of thought before. But he was happy to remind me that things will get pretty interesting when Lightweavers discover lasers and start using them in combat.
