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So the other thing I don't understand is in Hero of Ages when Harmony dies. How they became--
Harmony didn't die, you mean--
The man.
Yes, you're talking about the person who was holding the power of Preservation.
Yeah, how did those people become that in the first place?
That is a book I'm going to write eventually called Dragonsteel, that deals with how that came about.
In Secret History, you talked about Kelsier being attuned to Ruin, more to Ruin than to [Preservation]. How come Vin isn't that way.
I have to say this very carefully. She is, for reasons I'm not going to explain at the moment, and she isn't, at the same time.
I was curious if in the future Mistborn models you were gonna get into the history of the dichotomy between Preservation and Ruin.
Yes. With the history-- maybe not in future Mistborn novels, but in some novels you will find out their history and who they are.
The way storing weight works in Feruchemy annoys me to no end, because regular laws of physics just don't work. Sazed once jumps from a height then reduces his weight to be light as a feather, but the energy should, in theory, stay the same, so his speed should increase to account for it, hence smashing into the ground at a massive speed. This is just one of the issues, there are many more like the one you present.
That being said, I just thought about storing of weight as storing energy, in a sense, so that would fix the kinetic energy issue.
It depends on where in his jump he starts storing the weight. I’ll have to look at the scene. We worked on making this consistent for the Era 2 leatherbounds, but did not do it for the Era 1 leatherbounds.
So, with Apocalypse Guard being pseudo-shelved, and now Dan Wells being brought on as a co-author. A) How cool is that, and B) Is it, like, from the ground-up restructuring co-writing? Or is he coming in as, like, a super-editor?
So, what happened, for those who don't know, I wrote Apocalypse Guard, somewhat connected to The Reckoners books. That was my project for last summer. And to catch you up to speed, it didn't turn out. Like, I finished the whole book, and there are some really good parts to this book. But the book didn't work; some of the characters were off, some of the art was off. And I beat my head against the wall for a good month and a half trying to do revisions. And every revision I tried made it worse. And that's when I shelved the book. And I shelved the book and I started working on Skyward. This still happens to me. If you're a newer writer, and you're like "Wow, my book just didn't turn out," well,it happens to all of us. And then I did get the bright idea, it was about a month later, I'm like, "Who's the best author I know? It's Dan! Dan is the best author that I know." So I just called him, and I said, "Dan, is this something you would even consider? I would hand the book completely off to you, let you have it for, like, six months or a year. Do whatever you feel like you need to make it work, come back to me, and then we will write some sequels. Either I'll write one and you'll write one, or something like that. We'll collaborate on an entire trilogy." Because I've always wanted to do something with Dan. And this felt like a good place, because I couldn't get the book to work.
He was super enthusiastic. He's like, "Yeah, it sounds like fun." Dan likes weird things, this is a weird thing. Like, I'd never heard of someone doing this before. So, Dan took it, and he came back. We did a meeting over dinner, where I'm like, "Well?" He listed off-- All the stuff I also thought was broken, he thought was broken. He picked them out himself, he's like, "This character doesn't work, and this is--" So I'm like, "What do we do?" And so we just brainstormed for a while on what to do. And I'm kind of just letting Dan do his thing. It's not super-editor, like, he's ripping out entire chapters and rewriting them, things like that. Like, then there's one character who's just been ripped out of the story and a new one put in their place. Stuff like that. Total, takes the sledgehammer and goes to work on it. But, of course, preserving some of the stuff I think works the best. So, I haven't seen-- I've seen him with the sledgehammer, and he says "What about this?" I'm like, "I don't think that's a load-bearing wall." He's like, "Great," BAM. I'm like, "I hope this looks good when we come back." But it can't look worse than it did.
So, I'm not sure, still. Kind of, our thing on that is that, we're gonna sign a contract-- We haven't even signed contracts yet, he's just doing it. When we sign a contract, it will be like, we'll put a date in there that we think he'll turn it back to me, and a date I'll turn it back to him, and we'll see. I'm really excited, though. Finally being able to work with Dan, and finding this way to fix a story-- I'm excited.
Art director Isaac here with an art reveal today. Recently Brandon, Kara, and Adam have been discussing publicity for Rhythm of War, and one thing that Tor has asked for is a simplified symbol to represent the Stormlight Archive on certain marketing materials.
Now, to be clear, we love the original Stormlight Archive symbol, and we are in no way abandoning or replacing it. Many readers have bought shirts and decals or have even gotten tattoos of it. We are using it in The Way of Kings leatherbound and will continue to use it as a chapter icon in Rhythm of War and future Stormlight books. So rest assured that we are not retiring this tried and true iconic symbol.
However, the symbol is complex, and it doesn’t read well at small sizes, so at Tor’s request, we’ve sought a simplified design. During this search, it occurred to Brandon and me that eventually we’ll need simplified symbols for all of the Cosmere worlds—symbols that will need to be easily recognizable from far distances—basically, space-era versions of our current symbols.
So, after hundreds of drawings and thumbnails, we’re unveiling to you now the space-era symbol for the Stormlight Archive.
We’ve built this on the skeleton of the original symbol, preserving the relationship between the sword, circle, and main focal point. Instead of extra swords, we have rays of light. Instead of the complex double-eye of the Almighty, we’ve chosen the burst of light from the original Cosmere symbol.
Going forward, we will actively use both this symbol and the original in promoting the Stormlight Archive, and eventually you can expect space-age versions of many of the current Cosmere planetary symbols.
Chapter Thirty-Eight - Part Three
My one disappointment with this chapter is that I had to end up making it look like I was breaking my own rules. The Allomancy-Feruchemy-Hemalurgy triad is one of the most complex magic systems I've ever devised. The interplay between the three systems, mixed into the mythology of the setting (which involves the mists at a foundational level) makes for some very complicated rules. I try to explain them as simply as possible–simple, basic rules are necessary for most sequences to work.
Yet, the depth of complexity leads to some things that are confusing at first glance. I wasn't planning on having Vin draw upon the mists in this book–I was going to save it for later–but the initial version of this chapter (which had Vin simply grabbing the bracelets off the Lord Ruler’s arms with her hands) lacked the proper drama or impact. So, I moved up my timetable, and gave her access to some abilities she wasn't going to get until the next book.
A lot of the "Rules" of Allomancy are, in my mind, like our basic rules of physicist. They make simple sense, and can be explained easily. However, they only apply when generalities–or large-scale events–are explained. When you get down to the really advanced physics, traditional Newtonian Laws start to break apart.
The same is true for Allomancy. The vast majority of Allomancers aren't powerful enough to look beyond the basics. For them, simple rules like "You can't Push on metals inside of someone's body" apply. It's much easier to tell someone that, as opposed to "People's bodies interfere with Allomancy, making it much harder to affect metals inside of them–so hard, in fact, that only some people you'll never meet can Push on metals inside of people's bodies."
It is a matter of degree of power. Vin, for reasons I'll explain eventually, has access to far more Allomantic power than regular people. The Lord Ruler is the same way, though for different reasons. And so, he can affect metals that are blocked by blood. Vin has to draw upon another, external source of power in order to produce the same effect, but it is possible for her.
Narratively, I worry that this looks too much like I'm breaking my own rules. However, I had to balance drama with effect in this chapter, and eventually decided that I could make it work. I've established throughout the book that there are flaws in the commonly-perceived laws of Allomancy. There are metals nobody knows about. You can pierce copperclouds. In fact, one of the unwritten laws of Allomancy is that it isn't understood as well as everyone seems to think.
You hinted I think-- it was talking about it that Kelsier had kind of Ascended?
Yes. [...] Yes he did Ascend briefly. It was... It didn't work real well for him because Kelsier plus the power of Preservation is not a good match, but yes.
You mention... No you didn't mention Arthur Clarke. The guy with the "Any sufficiently advanced technology is distinguishable from magic" ...In, at least, one of the Mistborn trilogies you are probably going to have to deal with the distinction between magic and technology. So can you talk a little about how you are going to address that?
So yeah, addressing the-- This is a really good question, thank you. So Clarke's Law says that "Any sufficiently advanced technology is indistinguishable from magic". Right? And this is kind of a science fiction truism that we use in writing. It's a really cool concept when you think about it. But he asks "Well we're pushing the Mistborn trilogy more and more towards science fiction--"
For those who don't know, I pitched the Mistborn trilogy to my editor, long ago--this was 2003 when I pitched it to him-- I pitched it as a trilogy of trilogies. An epic fantasy trilogy that then after the epic fantasy trilogy we would jump hundreds of years and do an urban fantasy trilogy in a more modern setting, where all of the events of the epic fantasy trilogy became the foundation of religion and superstition and even culture to a modern society. What if our heritage were something like The Lord of the Rings? And then I was going to write a science fiction trilogy where... magic became the means by which space travel is possible. So there is, built-in to Allomancy, Feruchemy, and Hemalurgy, FTL-capability. *audience mutters* *nervously* It's not there yet don't worry. *laughter*
Somebody found the rabbit-hole.
That's all RAFO's. I'm not answering any of that.
So I did Alloy-era, by the way, as a stop-gap between the epic fantasy and the modern because I wanted something smaller-- The modern trilogy is going to be very thick books, and I wanted something to balance Stormlight while I was doing the first five Stormlight...
So he's asking how I'm going to deal with this whole collision... between science and magic. So there's a-- I don't know if corollary is the right term. Probably not, but there's a version of Clarke's Law which you inverse. And you say "Any sufficiently understood magic is indistinguishable from science". In the cosmere the magic is science. What I would call-- say is science fantasy because we've added to the Laws of Thermodynamics. We have this other thing called Investiture, which is what powers all the magic. Which is the souls of the things they call gods, their substance. And you can change matter or energy into Investiture and back. And so we've got a third circle in the old Laws of Thermodynamics and so because of that it's science fantasy. I would still call this fantasy because science fiction is where they go "We're going to take the Laws of Thermodynamics and try to explain what we can do using them" I'm like "No, we're just going to add to them, right?" But yeah that's where we're going. There will be a collision of that but it's really going to be-- To them it's indistinguishable, once you get far enough along, that it really is science.
We know that the conflicting nature of Preservation and Ruins' Intents within Harmony makes it difficult for Sazed to act in any meaningful way. Does the conflict between the two also protect Sazed, at least somewhat, from being molded to the Shardic Intent?
RAFO.
How would food production be like without soulcasters? Has Alethkar, for example, grown far beyond what it could (population-wise) without them?
The food question is a great one. As far as the Alethi go, it's more a matter of concentration than raw food production. Shipping is SLOW in Alethkar. It's long, which makes getting between north and south difficult, and the rivers aren't as useful as they are on (say) Earth.
The warcamps, for example, would starve themselves out short order without soulcasters. Supply lines are just not an Alethi strength. Kholinar, while not as big as Scadrian population centers, is also large enough that it depends on soulcasters for some of its food. It could survive without them, though, with northern Alethi food production.
Really, warfare is where they've learned to extend themselves, and depend on the soulcasters. Remember, gemstones in them DO break, so you do still need a ready supply of emeralds. The larger, the better.
Very interesting on the food logistics of Alethkar - I never did quite imagine Kholinar was smaller than say, Elendel, but the technological progress there explains it.
Given how slow food transportation is, I would presume fresh food is a no-go. Are spices and preserved food selling well in Roshar, then? As for population centers, is Kholinar the largest around, or are other places a lot larger?
There's a reason that Herdazian food (which makes soulcast meat taste good) is popular these days.
Azimir is larger in population than Kholinar. Kholinar is big by Rosharan standards, but far smaller than an Earth population center (like London) at a comparable time. The warcamps had it beat by a lot--depending on how you view the warcamps. (As one city, or ten small ones.)
Does that just mean Herdazian food is incredibly spice-heavy, then? Also, why is Soulcast food bland? Is it due to the nature of the object (changing food to food makes it tastier than stone to food), or just because the Soulcaster lacks practice, like Jasnah did with strawberry jam?
Flavorful, rather than spicy. Most western food is already spicy. The Herdazians offer something a little different, and are pretty good with soulcast meat. The portability is also a bit of a revolution.
Soulcasting anything other than the basic Essence requires some innate knowledge and practice. People could learn to soulcast better food, but it would have to be a Radiant with control over the process. The soulcaster fabrials are far more rigid in what they can create.
As for soulcasting - now that is... interesting. So are Surgebinding fabrials more rigid in general? And what of an Honorblade when a non-Herald uses it?
A soulcaster is built to do a certain thing, and can do that certain thing well, but without as much flexibility. It is the difference between having a computer output a picture of a circle--following some inputs such as size and some changes to shape--and having an artist who can draw what you want.
So Ruin and Preservation combine. When Odium slays the Shardbearers [Vessels], why doesn’t he absorb the enemy Shards?
Because that would actually change the way he views the world. The Shard would actually start to influence him, and could actually ruin who he views himself as being. So instead of combining them all, his goal is to destroy them all and be the only one left at his power level.
So by his nature, he can't combine?
I mean he could, but it would change his nature. So he won't.
I'm going through Hero of Ages...again and I noticed...when Vin takes the power of Preservation into herself the descriptions remind me a lot of someone who has been Invested with Stormlight--
Yes.
--are those powers very similar--
Yes.
--in how they operate?
Ye-- Definitely some similarities. You will see a lot of mist in Stormlight if you are looking. So yeah.
It like puffs out like mist.
Do you believe that Preservation is inherently good and that Ruin is inherently evil?
No, good question! I would say no. I don't think any of the Shards are inherently good or inherently evil. I think that Ruin can be (and was for many years) in the cosmere presented as the necessary force of progress, right? Things need to decay in order for life to exist. And I think entropy is just a necessary aspect of life. And Ruin doesn't have to be evil; but Ruin is hard to control. And Odium is even harder to control. And because of that, there is a higher likelihood that Ruin or Odium are going to, if left unchecked, be very dangeorus.
I'm really curious about Boatload of Mummies because Brandon did mention on his updates that you'd worked on it for NaNoWriMo for the past couple of years which is really cool. And the title is incredible. I don't know if that's gonna be the final title, but that's what it's always been referred to. How have you been doing with that?
Thanks for asking us. It's a project that I love. So I finished it. Finished a draft in September of last year. It's rough. It's a really rough draft. There's a lot of things that I'm still working through. I'm trying to narrow down the shape of the plot in a way because there's a little bit of--it wasn't inspired necessarily by these things, but it was after the fact that I realized, "Oh, it's part this, part that." It's sort of begins King Kong, if you imagined getting people on a boat. And then it continues as Death on the Nile. Then you get to a portion on an island. And then it ends The Mummy. And throw in a healthy dose of Venom. So it's like, "Okay, am I doing too much here?" And that's kind of where I'm at. You know, is this even a thing? Have I thrown too much in? Is this too much of a storyline? And i don't think it is. It really is in the end kind of a Raiders of the Lost Arc sort of story. You could pull out those some of those same elements and say, "Raiders of the Lost Arc starts out King Kong." But the basic plot line is there. There's going to be scenes in the current draft that are basically finished. I don't think they're going to change too much from the version that it is right now to the end.
Will it be called Boatload of Mummies? Probably not. I can't see that as a title of a Cosmere book, right? But we can affectionately call it Boatload of Mummies as long as we want. The working title is Book of Nails. And whether there's a series title or not, we'll have to figure that out if it's a story that people want to continue learning about.
But let me tell you Nicki Savage is so much fun to write. Don't expect exactly what you get from the broadsheets because she is writing to a particular audience, and has learned some skills from Allomancer Jack--though I do think Allomancer Jack's stories might be closer to the truth than Nicki's are.
You will see parallels between this story and some of the elements that are in the broadsheets. But she's basically: if you can imagine a Mary Poppins. who is incredibly interested in the supernatural, and is not afraid to beat up people. That's basically your character right there. And she's just, she's a load of fun. A boatload of fun.
I imagine from what you've said that you still wouldn't be ready to give us what could eventually function as a back of the book blurb?
During the first NaNoWriMo that I worked on it we had to come up with our elevator pitch on that, and I wrote the Readers Digest, TV Guide version of it, and it was "A woman with a strange, magical power journeys to an island to find a mythical book that might raise the dead." Something like that.
This particular book is interesting because... How do I pitch this when it's a spin off of a different series. It's a spin-off from Mistborn, technically. But it's not a Mistborn book. You can't pitch that to somebody who doesn't know Mistborn. And that's been some of the fun in trying to figure this out is "How do I tell a different story here, but then have to reintroduce how Allomancy works? But now in this era, we know about Allomancy, we know about Feruchemy, we know about Hemalurgy. We have crossovers from other worlds. How do you write this book without confusing somebody entirely without... "There's like 50 magic systems in here, and I don't understand." And that then goes into the pitch. How do you pitch this book? People who know the Cosmere, you just say it's set on Scadrial, but it's not really a Misborn book. It's just hard to encapsulate and someday I'll figure it out.
When planning multiple eras in Mistborn, did you know, for example, all the metals and magic when you published The Final Empire? Or did you leave open areas that you hinted at so that you could later explore and fill in the magic?
Final Empire is an excellent example, because it established what my model became. I wrote Final Empire, having an idea, but not have the entire nin-book sequence plotted. Not even the three-book sequence. I wrote that one and said, "Let's just write the book and see if it works." This is generally what I like to, rather than planning out the whole series. The exception to this was Stormlight, which needed the entire series planned out first. But with Mistborn, I was able to write the first book having ideas of what I wanted to do, but just make that book right. And then I sat down and said, "All right. The first book worked. I have the characters where they work. Now let's build the series." And when I did that, I went into a lot more depth on the metals.
But I did still leave... I knew, basically, what the other metals were gonna do, but I didn't have the mechanics down. Because I wasn't sure if it was gonna work. Playing with time, and all the stuff in Feruchemy where I'm playing with Connection and things like that, these were all kind of fundamentals of the cosmere that I wasn't 100% sure how I wanted to play out. So I basically kinda did the "best of both worlds." I left those holes knowing what they were probably going to be. But I was very careful not to give too much about them in the original trilogy, just in case what I wanted to do didn't end up working.
And that's worked out pretty well. I did manage to finish writing books two and three of Mistborn before I released the first one, so I could make sure that the continuity on the narrative really worked. Still, there are some things that I would change. I was much younger as a writer back then. I think some of the stuff in the third book, though it clicks together, it doesn't click together quite as well as I wanted to. Ending of the first book, I've talked about before. But I'm pleased with that process. Though every author has to use a different method, I do suggest trying that one. It's worked very well both for Mistborn and for Skyward. Worked a little worse in Reckoners, to be honest. Because the first book, I did not deal with any multi-dimension stuff, but I built it in after. Wrote the first book, went back, made sure the first book worked, then I wrote book two and three. And I was never quite satisfied with how the interdimensionality worked in that series. I think the magic system ended up cutting a few too many corners. So, in that case, doing it from the get-go from book one, instead of writing book one and then building it, might have worked better. Book one remains the strongest of the Steelheart series, I feel, because of that reason.
Regardless, it's been an effective method. It worked very worked Mistborn. It worked very well for Mistborn Era 2. And it has worked really well in Skyward so far.
My understanding is that Brandon thinks it is a plothole that lerasium can be burned by Scadrian (regardless of if they are Mistings/Mistborn) but atium can't.
His solution is to retcon the Pits to naturally produce an atium/electrum alloy, presumably by the design of Preservation. Therefore we don't know what pure atium looks like or does when used in any magic.
We do know what it does. It’s on the Allomancy poster, and the effect appeared one time at the end of Hero of Ages.
Interesting. Do you know if he had already conceived the retcon by the time the poster was written, or if that line about pure atium just turned out to fit really well retroactively?
The retcon is way older than a lot of people assume.
Does this mean he had it in mind by the time Hero of Ages released (since the first public version of the poster dates to 2008), or just that it's old but not sure exactly how old?
Remember that what's in the books is filtered through the understanding of the characters. So even if Brandon planned it from the beginning, if the characters didn't know about it, it's not going to come out in the book.
What does it mean for an object to be considered "Invested"?
Uh, that is a matter of some discussion among scientists. Usually it means, to most of them, like a-- so, let me see if I can explain this-- So all things are built from Investiture.
Right.
Right? Um, when they're using "Invested" they're talking about kind of like saturating a solution, in that-- yes, it's built out of this material, but you are-- there is more in it than-- like, it's a little bit like supersaturation, but not quite. Because it can s-- yeah, anyway.
So getting, like, more Investiture in the spiritweb or in Cognitive than normal?
Yeah, more than just the creation of it. Like there is lingering Investiture that could be drawn out. Or more stuffed in. It's--
But there are limits, right?
There are limits. We kind of run into that in Feruchemy a little bit, and things like that. But yes.
So, we have Shard names; Ruin, Preservation, Harmony, Cultivation, Honor, Ambition, Autonomy, Devotion, Dominion. Those are pretty much regular English words. And then we have Odium. That's a little more Latinate. It's not-- It doesn't fit the pattern.
So I don't really look as something as Latinate or Germanic, when I'm picking the names usually.
But this one is more. Even in Devotion or Dominion, they're still more regular English. Why?
I just look for the thing that feels right. Remember, all these words are in translation. When you read the book, they were a word in the original language of the book, that then we have translated to English. And so, don't look to much about what's Greek, what's Latin, what's Germanic. I will mix those a lot. And that's just because I'm looking for the word that has right resonance in English, that I'm writing in. You might even find Latin and Greek mixes in some of my stuff. And that's not done to be like, "Oh, you should be paying [attention]." Usually, I'm just looking for a flavor.
So it's the flavor-- Because I actually did have it - they're all translations, why not Hatred [instead of Odium?]
Because Odium is cooler. It just sounds cooler. There is no answer other than "I like the word better."
Is there any connection with the thought that it's not Hatred? Because in Oathbringer, he says he's Passion?
He would claim that he's Passion and not Odium. But that is part of why I chose it. Hatred felt too on-the-nose, because there is quite arguably that step toward just being all Passion, and that's what he claims that he is.
His own perception of himself, can perception, in the cosmere, can that influence?
Yes, it can influence.
So the Shard's Intent can--
Can be influenced by their perception and the holder's, yes.
Part Three: Updates on Primary Projects
Stormlight
Book Five (now called just Wind and Truth) is basically done in rough draft form. I’m writing this update on the 2nd of December, and I assume by the time this goes live on my birthday that I’ll be very, very close—if not done already.
I do want to warn you that Horneater (the novella about Rock) will not be part of the Words of Radiance crowdfunding campaign. Why not? Well, I’ve realized that I would like to be able to write that sometime in the next couple of years when I’m missing Roshar, and want to jump back to tell a story there.
I don’t know when this will be though. It will likely be between one of the upcoming Mistborn Era Three novels. So…we’ll see. But I don’t want to offer it to you in the campaign since I don’t know when I’ll be writing it. (Sorry.)
Once I finish Wind and Truth, the Stormlight Archive novels will go on hiatus as I write the next few projects listed.
Mistborn
Era Two is finished as of last year, and my next mainline Cosmere project after Wind and Truth is Era Three, along with the long-awaited Elantris sequels.
I expect to start Ghostbloods (the name of the Era Three series) on January 1st, 2025. Half of next year will be revisions on Stormlight, and the rest I’ll spend catching up on things (like doing a White Sand prose novel update) that I’ve let languish a little too much lately.
Cytoverse
Skyward is done! Please, if you haven’t picked up a copy of Defiant, consider doing so. This has been my best received, best selling, and best reviewed non-Cosmere work. I’m extremely pleased with how it turned out.
Janci is taking the reins for a sequel series we’re calling Skyward Legacy. And so I’m going to let her put a section in here talking about it!
Janci here! By the time you’re reading this, I should have turned in the first draft of the first book in the Skyward Legacy trilogy. I’m working on the end of the climax now, and I’m thrilled with how it’s turning out. I’m very happy with the book, and am looking forward to revising it over the next few months to get it into publishable shape.
The series begins a few months after the ending of Defiant. The working title of book one is Blightfall (this is not the final title, so don’t be surprised if it changes!), and the book follows Skyward Flight, now a special forces unit, from the perspectives of Sadie and Arturo. The humans of Detritus are no longer prisoners or rebels, but full citizens ready to take their place on the galactic stage. Skyward Flight’s first responsibility is to help the DDF Diplomatic Corps make contact with other humans in the old Superiority human preserves—and what they find there may pose a new threat to their alliances, their galactic reputation, and the future of humanity itself.
My intention for this series is for it to be all the things you love about Skyward while continuing the stories of many familiar characters. I hope you’ll give it read when book one comes out!
The Four Secret Projects
I thought I’d put this here to interrupt any questions. I do intend all four of the Secret Projects to be standalone stories! You might see these characters again, but for now let’s just allow them to be something currently rare in the fantasy/sf world: books meant to be read on their own, and enjoyed without sequels.
In Mistborn, Ruin could talk to you when you were Hemalurgically spiked, and Preservation could hear you. Do other Shards have different abilities?
It varies, but yes. But that was related to the way they created people.
Why can non-Scadrians use Hemalurgy? Don't they need Ruin's sDNA, like Allomancers need Preservation?
Hemalurgy is built to be able to be used by anyone. It's about taking and breaking. Ruin doesn't care who does such things
I've always wondered, how do you determine where the line between "Word of Brandon" and "Read and Find Out" is? Has it ever caused issues where you've said something, but later that thing changed when it went into a book making your first statement now false?
Thanks so much for writing as much as you do, I'm looking forward to all your upcoming books, keep up the great work!
Boy, this one is an art, not a science.
I've several times said something that I later decided to change in a book. I've always got this idea in the back of my head that the books are canon, and things I say at signing aren't 100% canon. This is part because of a habit I have of falling back on things I decided years ago, then revised in notes after I realized they didn't work. My off-the-cuff instinct is still to go with what I had in my head for years, even when it's no longer canon.
An example of this are Shardblades. In the first draft of TWoK in 2002, I had the mechanics of the weapons work in a specific way. (If you wanted to steal one from someone, you knock off the bonding gemstone, and it breaks the bond.) I later decided it was more dramatic if you couldn't steal a Shardblade that way--you had to kill the person or force them to relinquish the bond. It worked far better.
But in Oathbringer, Peter had to remind me of that change, as I just kind of nonchalantly wrote into a scene a comment about knocking off a gemstone to steal a Shardblade. These things leak back in, as you might expect for a series I've been working on for some twenty years now--with lore being revised all along.
So...short answer...yes, I've contradicted myself a number of times. I try very, very hard to let the books be the canon however. So you can default to them.
As for what I answer and what I RAFO...it depends on how much I want to reveal at the moment, if I'm trying to preserve specific surprises, or if I just want people to focus on other things at the moment. Like I said, art and not science.
In WoR, Navani muses to Dalinar about how the gemstones in the Blades could be the focus that allows the bond with the Blade to exist. If this theory is correct, it would follow that someone could damage that gemstone and thus be able to steal the Blade with it then having no intact bonding mechanism, right?
I guess I'm having trouble seeing how the example you describe isn't possible.
The gemstone is needed to create the bond and operate the bond's functions. If you remove the gemstone, the person the sword is bonded to can't summon it or dismiss it to mist. But neither can anyone else. If they eventually pop another gemstone in and try to bond it themselves, they will fail, and the original person can then resummon their Blade. The bond is with the dead spren of the Blade, not with the gemstone. The stone facilitates the bond.
So, you can haul around a de-gemstoned Blade with you all the time and successfully steal it that way. But this makes it very easy to steal back. You'd have to kill the holder of the bond in order to rebond it. Which is no different from usual.
And in general, if you can get close enough to a Shardbearer to steal their Blade, you are also close enough to kill them anyway.
So that scene where Dalinar crushes the gemstone and hands the Shardblade over, he's also doing some sort of mystical de-bonding?
Or is it just 'if you WANT to give it up, you gave it up'?
Yes, if you want to give it up, you gave it up.
If nobody is currently bonded to it, does the attuning still take a week?
Otherwise it seems weird people would figure out putting a gemstone in hilt lets you summon it, since nothing would happen without a week of bonding time.
Not that weird. One of the books (WoK, I think) mentions that many years passed before the gemstone bonding was discovered. Shardblades were still really valuable, though, and even more vulnerable to theft, so it makes sense that people would have kept them close at hand long enough for the bonding process.
Other than that, all you need is someone to accidentally decorate the blade correctly, which is something that took a long time to happen, but was probably bound to happen eventually considering how key infused gemstones are to the world.
Well said.
A question I've been thinking about recently: In Warbreaker we see Nightblood's consciousness shift dramatically when he is actively consuming investiture. Does the Shardic flavor of that investiture (Breath vs Stormlight or Preservation Mist vs Ruin Mist) influence how his mind functions in that state?
RAFO, actually. Good question.
If you use chromium with Feruchemy, would that mean misfortune to your opponents? If you were playing Monopoly and you needed them to roll like a four to...
*Hands RAFO card*
You did tell us to keep an eye open for future sets. Well then, in your head, what are the colors of each main character (Tacenda, Highwater, Crunch, Willia)
Tacenda is GRW. The demons would be mono black, though Miss Highwater has some red and blue to her, while Crunchgnar has some red and green to him. Willia is White Green Black.
Is [Tacenda] still GRW at the end of novella, after picking up the entity?
I imagine that entity actually being green. A darker side of green, but still green. It evoked a feeling of destiny, and of putting it back together (which would be natural) and a kind of survival of the fittest attitude. You didn't get to see much of it, but this is my intention for it.
Think of the Entities as enormous mana reservoirs--the collected mana of a plane--that can be tapped to power spells, but with dangerous results. Davriel's Entity is pure black mana, while the entity of the bog is pure green. (Though in its shattered form, a lot of its instincts were about self-preservation, which comes across black in the story.)
I was wondering with Emperor's Soul-- it's in the same world as Elantris.
Yes.
But it's a completely different magic system.
Yeah.
Do you ever see The Emperor's Soul, like, that magic system in further Elantris books?
Yeah, you will see more of that. Elantris-- So what Elantris is very-- is interesting-- is Sel, the planet that is, that each region has basically a way of accessing the magic, and they're all, in my mind, programming languages. And you use different things to program, and call functions basically. And some people etch into bone, some people draw in runes, some people make the soulstamps. You can do it through a tai chi-like thing in one of world-- in one of the lands. So it's like a-- region-based for reasons that cosmere magic experts I think have figured out by now.
Well it's like there were two deities, I think, Invested in that planet?
Yep... The reason is-- and we have announced it-- the reason it is is, so on Sel-- somebody killed the two deities there, right? And then stuffed their corpses, which are just huge magic reservoirs, just *inaudible*. So all their power stuffed up into what we call the Cognitive Realm, the realm of the mind, which is location dependent. So all the magic is getting filtered through that, it does weird things to it, it makes it region-locked. So yeah.
Is it the only world that has many different ways that magic is--
Well a lot of them have different ways. For instance, for-- on Scadrial we've got Feruchemy, and Allomancy, and things like that. So most worlds have different interpretations, and things like that. Sel's the only one you've seen where it's region dependent.
On all the cosmere worlds, it seem as if-- do all the humans have what you call innate Investiture?
Let's see...
*thinks*
I believe that they all do. I don't think that you've seen anyone without innate Investiture yet.
Because when they don't have Breath anymore, they would get Drabs, and those don't have innate Investiture?
They don't have innate Investiture. And on Scadrial they have the pieces of Ruin and Preservation in them. And they do have it on Roshar.
Which Shard is that?
You'll have to read and find out. *gives card*
So yes, I don't think you've seen any worlds where they don't.
Good questions! The vowels don't affect the glyphs any more than the consonants do. I'm going to RAFO about the glyphs relationship with Thaylen. You're on the right track, however, on half of the word being written and then mirrored. That said, please remember that glyphs aren't meant to be read or even deciphered. They're learned in the same way that we can look at dozens of stylized pictures of cats and still be able to tell that it's a cat.
So, you've said that glyphs are not meant to be read several times, and I know that, but I think I've been misunderstanding you. I've been assuming they are just too complex and decorated - like an extravagant font. Are you saying they are not a hard writing system instead?
There are obviously some rules to how the glyphs are designed, but does your reply mean that there is always a little bit of "I'll do what looks cool"? Kind of like how the band Koяn decided to flip the "R" - it's still recognizable enough, but there's no rule that says when you can and can't do that?
Let's see if I can explain further. Glyphs are recognized rather than read. If you learn the letters in an alphabet and you come upon an unfamiliar word, you can be reasonably certain you'll know how to pronounce it if you're already fluent in the language. You can at least read it, and you might know from context what it means. Glyphs are different in that if you come upon an unfamiliar glyph you might be able to guess what it means by its shape, but until someone tells you "that glyph means 'soup'" then you're still guessing.
The calligrapher's guild has rules they follow in creating glyphs, and there's a lot of artistic license, like the flipped R in Koяn, for the very reason that the guild isn't expecting people to read the glyphs. Those in the guild--and some scholars who are interested in how glyphs morph over time--might be able to decipher some of the glyphs for academic purposes.
How's that? Any clearer?
It is clearer, yes :( I think we might still bug you every now and then, but I am coming to terms with the idea that we won't get anywhere near the level of understanding we have for the women's script, for example. It just felt so close, with the slight similarities between some glyph components and the Thaylen letters, you know?
There's definitely a relationship between the Thaylen letters and some of the glyph components (although it's not the biggest part of what makes up the glyphs). Imagine if back in the middle ages a culture decided to use some latin letters as the basis for symbols so that it would be easy to mark things for people who don't read. This hypothetical culture threw in a smattering of other alphabets in there too. So, if that sort of thing developed naturally over time with phonemes and symbols getting added as the culture encountered other cultures, then you might get a bit of an idea of what's going on with the glyphs.
I admit I'm still a little confused. The glyphs are recognized based on their shapes, but those shapes also appear to be highly mutable. I'm not sure how to reconcile those two ideas.
If an established glyph can be stylized into a crown, a skyeel, or the other shapes that highprinces use as their symbols, how does someone associate the new shape with the standard one with which they are familiar? Does the stylized version preserve some core recognizable shape (since the constituent graphemes alone wouldn't be enough to decipher the meaning)? Or does each instance of a glyph have to be learned separately?
I agree that those two ideas are hard to reconcile! Let me see if I can explain it a bit more without giving too much away.
There's a calligrapher's guild that creates (and I suspect controls to a certain extent) the official glyphs. If a new glyph needs to be made, they do it in a way they see is proper, based on canonized rules that have developed over time.
That doesn't keep amateur glyphmakers from creating things from time to time, and there's certainly a shift in shape as glyphs morph through the ages. The Guild is probably a lot like the Oxford English Dictionary folks, occasionally canonizing popular but unauthorized glyphs that get used so much that they become ubiquitous.
Usually it's just guild members who are morphing glyphs into poems and such. If a nobleperson wants a glyph for their house, they go to someone authorized by the guild, and they'll stylize things into a crown, a hammer, etc. A good example of this will be seen in one of the pieces of art in the new book. We've seen Dalinar's Tower and Crown. Watch for the Sword and Crown and compare the shapes inside the Sword with the shapes inside the Tower. Maybe that will help with some understanding.
So what happens when Shards die?
Well, it depends on how long the Shardholders have held the Shard. After it dies, the Shard is often able to continue acting, a kind of "Cognitive Shadow" of sorts. For example, the mists were able to continue doing what Preservation wished in helping out Vin and Snapping people. With the Stormfather, he is that Cognitive Shadow, and he's semi-sentient. It's that power, but no one is actually holding it. We also see this on Threnody.
While Sazed holds Preservation and Ruin, could his intent change from Harmony to Discord?
It is possible.
Chapter Thirty-Three - Part Two
To be honest, I'm not sure if Vin's right–if Kelsier should have stayed back from the trying to save the people–or not. It's certainly the more heroic thing to try and save them. This scene is to show that Vin still has a little bit of her Reen-crafted selfishness (or, maybe self-preservation-ness) left in her. Kelsier is ready to risk everything for his friends. You can debate whether this impulse is foolish, but I think it's noble.
Vin's sin here isn't deciding that going after them would be too dangerous. It's how quickly she jumps to this decision, and how powerless she decides that she is. She's not a coward, nor is she ungrateful. She's just lived on the street too long. In a situation like this, her first instinct is not to fight, but to flee. (Just like it was when the army got attacked by the garrison a few chapters back.)
Do all Shards have some sort of Shard-induced weakness, like how Ruin and Preservation can't see metal?
Yes.
Can you steal someone else's infused Breath with a similar method to the Feruchemy loophole?
Potentially.
Part One Wrap-Up
Setting the Scene
Like always, part one is a little slow. I'm working on my style, trying to get the pacing better in the first third of my novels. However, one feature of my style is the setup, followed by fast-paced endings. I don't want to lose that; I just want to make sure every part of a given book is fun to read.
There are a lot of good things happening here, but also a lot of establishment. How Allomancy and Feruchemy work, what has happened to the characters in the year between books—the setup for the conflicts of this novel. Things start to pick up in the next section, and we add our final viewpoint: Spook.
Overall, I'm pleased with part one and the way it sets the scene of the book. The world is ending. People everywhere are in trouble. Elend, Vin, and the team have no idea how to fight it—they're just doing their best at guessing.
My editor in America made me cut out half of the kolo's – what did you translate "kolo" as?
"Kolo." 'Cause you know, it's foreign language, so I just preserve it as it is.
Yeah. He made me cut half of those. He was so annoyed by my kolo's. You don't to understand, languages use these little verbal tics, that are very common – I don't know if Hebrew has one, but, like, they're very common, like - Korean has one - <Kuritzu?> - which people put at the end of a lot of sentences, and they just mean "Isn't that so?" or "Am I right?" or... it basically gives you a moment to think while you're talking, and a lot of languages have them. So, this is one of the examples of: fiction happened to be less realistic than real life, because in a lot of real-life texts you would have one of those every other sentence. And I use them like, you know, once a page, and my editor is like, "This is way too much."
Mistborn travels to Roshar, what does he or she use to get Invested?
*pause* So. *pause* I think I've talked about this before on the 17th Shard, but I'm not 100% sure and so I don't want to anything right now, not knowing what I've said. But you can look it up. You can ask Peter. Hey Peter, have I talked about someone using-- Have I ever in an interview before talked about using metals... A Mistborn travels to Roshar and uses the metals there?
I think that you have said that they could do it.
I said it. Okay, so the thing about the metals you have to understand is the metals are a key, the metals are not magical themselves, except for specific ones. If I've already said that I can tell you, go to Roshar and you could use the metals that are there to power your Allomancy because the difference is in your soul and you're actually drawing directly from Preservation. Remember that on the Spiritual Realm, this is the big tidbit--they're listening. On the Spiritual Realm time, distance, and space are irrelevant. It's a place where time and space are compounded in one. So anything that exists on the Spiritual Realm, space doesn't matter for it.
The Origins of Siri and Vivenna
Back around the year 2000 or 2001 I started writing a book called Mythwalker. It was an epic fantasy novel, an attempt to go back to basics in the genre. I'd tried several genre-busting epics (one of which was Elantris) that focused on heroes who weren't quite the standards of the genre. I avoided peasant boys, questing knights, or mysterious wizards. Instead I wrote books about a man thrown into a leper colony, or an evil missionary, or things like that.
I didn't sell any of those books. (At least, not at first.) I was feeling discouraged, so I decided to write a book about a more standard fantasy character. A peasant boy who couldn't do anything right, and who got caught up in something larger than himself and inherited an extremely powerful magic.
It was boring.
I just couldn't write it. I ended up stopping about halfway through—it's the only book of mine that I never finished writing. It sits on my hard drive, not even spellchecked, I think, half finished like a skyscraper whose builder ran out of funds.
One of the great things about Mythwalker, however, was one of the subplots—about a pair of cousins named Siri and Vivenna. They switched places because of a mix-up, and the wrong one ended up marrying the emperor.
My alpha readers really connected with this storyline. After I abandoned the project, I thought about what was successful about that aspect of the novel. In the end, I decided it was just the characters. They worked. This is odd because, in a way, they were archetypes themselves.
The story of the two princesses, along with the peasant/royalty swap, is an age-old fairy tale archetype. This is where I'd drawn the inspiration from for these two cousins. One wasn't trained in the way of the nobility; she was a distant cousin and poor by comparison. The other was heir to her house and very important. I guess the idea of forcing them to switch places struck some very distinct chords in my readers.
Eventually, I decided that I wanted to tell their story, and they became the focus of a budding book in my mind. I made them sisters and got rid of the "accidental switch" plotline. (Originally, one had been sent by mistake, but they looked enough alike that nobody noticed. Siri kept quiet about it for reasons I can't quite remember.) I took a few steps away from the fairy tale origins, but tried to preserve the aspects of their characters and identities that had worked so well with readers.
I'm not sure why using one archetype worked and the other didn't. Maybe it was because the peasant boy story is so overtold in fantasy, and I just didn't feel I could bring anything new to it. (At least not in that novel.) The two princesses concept isn't used nearly as often. Or maybe it was just that with Siri and Vivenna I did what you're supposed to—no matter what your inspiration, if you make the characters live and breathe, they will come alive on the page for the reader. Harry Potter is a very basic fantasy archetype—even a cliché—but those books are wonderful.
You have to do new things. I think that fantasy needs a lot more originality. However, not every aspect of the story needs to be completely new. Blend the familiar and the strange—the new and the archetypal. Sometimes it's best to rely on the work that has come before. Sometimes you need to cast it aside.
I guess one of the big tricks to becoming a published author is learning when to do which.
If Ruin and Preservation could become Harmony, could any of the other Shards combine?
Yes, although they would have different names.
Can more than two pure tones reach harmony? And, extending on that, does Harmony the Shard have a pure tone for itself, or is it a mix of Preservation and Ruin?
RAFO! Excellent question, sorry to dodge that one.
Was the Lord Ruler using Feruchemy + Allomancy to Soothe all of the people around him? Or was he, as I like to think, flaring for so long that he became a Soother Savant?
He lived long enough and used his metals enough (particularly Soothing) to become nearly a savant in every area, if not a full savant.
I was wondering if there was a connection between when we meet Preservation in Secret History, and the way he is, and the Stormfather. Like, is he dead yet, in Secret History?
There is a similarity, but-- Dying for a Shard takes a long time, in a lot of cases. So, it's similar. But the Stormfather is something different, *inaudible* remnants left over after the god died.
So is he dead?
Honor is dead, yes. But, at the same time, the Stormfather is kind of his Cognitive Shadow. So-- what does "dead" mean?
"Something in the form of that which we'd seen before."
There's one other cool item to note in this chapter. If you read Ruin's words carefully, he admits that he has indeed seen human life somewhere before. This means that there is life on other planets in this cosmology, and that Ruin and (presumably) Preservation have experience with those other planets.
Another building block for the larger story.
In the past we have seen that shards that break oaths are made vulnerable by that. And in Mistborn Era 1, we see that the reason that Preservation was able to be killed was that he tried to shelter humanity against Ruin even though his agreement said that Ruin would be allowed to destroy them eventually. Did Honor have an agreement with Odium or the singers about a potential ceasefire between Desolations that was broken by the binding of Ba-Ado-Mishram or other actions taken by humans between Desolations?
RAFO, but I will say that there was not much of a continuatuion to the fighting after a Desolation. It is similar to if you look at stone age and even modern stone age people. Most of them didn't truly understand war and if they did then they almost never thought to exterminate everyone on the other side. So I don't think that it's likely given how far towards societal destruction they were pushed by each desolation.
Also, is there a common reality/universe throughout all of you works (WoT excluded)? The gods and magic system of your books you have mentioned as pieces of a larger source. I know I am mistaking the language a bit; it was a while ago that I read this. But Preservation and Ruin were linked and you referenced possible deities in Elantris, not to mention Austre. I know your magic systems are all well thought out and the rules have practical founding. With this in mind, I assume your deities and beings of power would have universally applied links and rules as well. I figure they all exist in the same multi-verse.
I am remaining mostly closed-lipped on this topic, as I don't want to spoil the story and discovery. There is a lot of discussion about it on my website. I can confirm what I've said earlier, that there is a common character appearing in the books, and that there is a single cosmology to all of the Shardworlds and their books (Elantris, Mistborn, Warbreaker, White Sand, Dragonsteel, The Silence Divine, etc. Those last three are unpublished, by the way.) There is also a connection between how the magic works in each book, as well as the fundamental metaphysics of the worlds.
Chapter Seventy-Seven
Elend Inspects Kredik Shaw
A short Elend chapter here, again as kind of a slowdown between larger events.
I'll be curious to see what people think of Vin's god scenes. It took a lot of playing around and work to determine how exactly I wanted her to interact and think while in the embrace of Preservation's power.
Were Ruin and Preservation two shards or one?
They were two shards. Harmony is considered a shard, although it’s really two, in the same way that a king of two countries would still be considered a king.
Is Hoid the only one of his kind that we've met in the Cosmere books?
What do you mean by his kind?
Is he the only one from the planet he's originally from that we've met?
No. Because Ati and Leras, the Ruin and Preservation, were both from that same planet.
[...]
All of the Shards of Adonalsium were from that planet.
Why do you have to make so many of your terms and names in your books so confusing? I'm going to be using Mistborn as an example: Feruchemy, Hemalurgy--
I think they're cool. Part of the answer is I look for the way languages are built. I try to do things in the way that it's going to feel natural but also foreign, and that is really tough. Like, it's going to feel alien, it comes from a different world, but it's natural to do and remember, and it is also based on the world.
If you think Mistborn is hard, read Elantris. All of those names are based on some linguistics that, I realized as I wrote the book, this is one is even tougher. So sometimes I'm looking for things that are more familiar and less strange, sometimes I'm looking for things that are more strange. At the end of the day it's just whatever I think sounds cool.
In Scadrial the amount of investiture in humans from Preservation, aka, the amount of Mistborn and mist powers, is that decreasing or just being diffused among the population?
That power is being diffused among the population, though everybody has some of it already. That power is not.
