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17th Shard

You've told us that you took the idea of the Shattered Plains from Dragonsteel into Way of Kings and reading Way of Kings it's hard to imagine the book without them. What did Roshar look like without them? Can you walk us through the process of moving that concept from that series to this one?

Brandon Sanderson

Yeah, it looked pretty much like it looks in the books, but Way of Kings Prime takes place mostly in Kholinar and in a location that has not yet been talked about in the books.

Ah…it took place in another location, how about that?

One of the big things with this book is, as I was saying, that I think I started [Way of Kings Prime] in the wrong place. I moved some things back in time and some things forward in time. For instance, if you ever read Way of Kings Prime, the prologue to Way of Kings Prime is now the epilogue to The Ways of Kings. You know, the thing that happens in the epilogue with the thumping on the door and the arrival of a certain individual? That scene is now from Wit's viewpoint which it wasn't before. Pull Wit out of that scene and you'll get almost exactly [what happened] in the [original] prologue. So, the timing has been changed around a lot.

As I was playing with this book I found that, like I said, one of the big things I had a problem with was that I felt that Kaladin had taken the easy route when he needed to take the hard route. I was really looking for a good plot cycle. I needed something to pull this book together. I had characters but I didn't have a plot and I've mentioned before that sometimes things come [to me] in different orders. In this book world and character came to me, in fact character came to me first, world came second and then I was building the plot around it. I knew the plot of the entire epic and the entire series but I needed a much stronger plot for book one. Because of the various things that are happening I wanted to deal with a war.

So I was planning a war away from Alethkar, and I'm trying to decide what I'm going to do with this war. Meanwhile I have Inkthinker, Ben McSweeney, doing concept art for me to use in my pitch to Tom Doherty at Tor and he says, "Hey, I just drew up this sketch of some creature that lives at the bottom of a chasm, what do you think?" And he showed me this.

I told him that we were looking for kind of above water coral reef formations, and he sends me this brain coral, which is essentially the Shattered Plains with a big monster living at the bottom and I'm like, "Wow!" I actually did a book where this was essentially the setting. I looked at that, and that's actually what made me say, "Wait a minute, could I transpose this and would the Shattered Plains actually make more sense on Roshar than they ever did on Yolen?" I started playing with that concept and I absolutely fell in love with the idea. Unfortunately for Dragonsteel, that was the only really good plot cycle from that book.

So, I ripped it out of that book and I put it here, and that means it brought with it a few side characters who no longer live on Yolen because they now live on Roshar. Rock is one of them, though he's been changed. When he came along the Horneaters were born; they had not been in the books before. For those who have read Dragonsteel, he was Ke'Chan in that book. I couldn't bring that culture because that culture is extremely vital to [Dragonsteel]. I can bring a plot cycle or a little region, and there's certain things you can pull out of a book without ruining the soul of what the book is. I couldn't take the Ke'Chan out of Dragonsteel; they're just part of what that book is and so Rock had to change nationalities. I had to build him his own nationality, a new culture essentially just for him. And yeah, it worked wonderfully.

Someday I'll let you have that art, and if you remind me to ask Peter you can probably post it with the interview. As you can just see it's not the way that it ended up being because it looks different from how the Shattered Plains turned out, but it was the spark that made me say, "Let's move this over."

Swahhillie

Have you gotten to depict or seen depictions of the summoning of Shardplate? Do you think it looks different per Order of KR or is it universal?

Isaac Stewart

This question is way too spoilery. :) I'm going to have to give out my equivalent of a RAFO, which is probably a Now Isaac Can't Say, or a NIX. :)

John203

So, at the beginning of Way of Kings, Kaladin's in the slave wagon. He sees an unusual cremling after the highstorm.

Brandon Sanderson

*enthusiastic* He does!

John203

Is that one that can see that he is a budding Radiant?

Brandon Sanderson

Let's just say that that cremling is more than it appears.

I'll give you a RAFO card, because I didn't fully answer, but you got kind of an answer. You'll be able to... Keep your eyes out for people saying, "That cremling looks odd."

Questioner

In terms of redemption arcs. In terms of Moash. Will he be able to redeem himself?

Brandon Sanderson

I won't say no, because I think you have to go really, really far in order to not be redeemed. But at the same time-- Let's just say if Dalinar got redeemed, Moash has gotta go further than Dalinar. At the same time, he is certainly not looking for that.

Questioner

But neither did Dalinar?

Brandon Sanderson

But neither did Dalinar.

Jofwu

The ten gas giants, are they associated in any way with the Essences, the Heralds or the Knights Radiant other than culturally?

Brandon Sanderson

Only culturally.

6th_account_so_far

How much of an impact did interviewing professional fighter pilots have on the story? Did anything learned from them actually change parts of the book in significant ways? Did you learn anything weird or unusual that you found fascinating?

Brandon Sanderson

The pilots were a HUGE help. The biggest issue I had, which was really hard to get through my skull, was the different ways that G-forces interacted with the human body.

I knew the basics, and had flight suits operating correctly and was watching for people pulling too many Gs. But the fighter pilots kept explaining things like "eyes out" and how it wasn't just number of Gs, it was the direction they were pulling. It wasn't until I called one of them and had a lengthy conversation that it started to click with me.

From there, some of the direct feelings of pulling Gs--feeling like your skin is sliding off your body, or that you've aged a hundred years--I got from them.

As always with a sf/f book, one of my goals is to walk the line between realism and fiction. I tried to make the battles feel real enough to not kick an actual pilot out of the story, but at the same time, I specifically gave the fighters technology that we don't have, in order to spice up how the combat would work.

Questioner

How does one make sense of Spook's High Imperial?

Brandon Sanderson

One thing about High Imperial, or Eastern Street Slang, is that it was devised by those who spoke it in order to be intentionally obtuse. So it was hard for people to understand. And so there are a lot of nonsense words thrown in the middle. But, it's also got reversed grammar. ‘Wasing the wanting of doing the thing' is ‘I wanted to do that.' But you can also throw random words in there. As long as those parts are in there, it'll make sense to those they're speaking to. ‘I wanted to do this. Wasing the wanting of doing the thing.' You're putting everything into a gerund. You're starting with the verb and the tense. And you're turning everything into ridiculously bad gerunds. That's it in brief.

Sunbird

Alcatraz, the Dark Talent. How far ahead did you decide that specific ending? I know you always knew it was gonna end up at the altar, but at what point did you decide Attica's fate?

Brandon Sanderson

That was right at the beginning. I was using some mythology, and things like this, and that was the big part. So, if you go back and look, I knew Alcatraz, when I wrote the first book, before I outlined the rest of them, something terrible happened. Something actually terrible happened, which is why he refuses to accept... 'cause he failed in some major way. It had to be a real and kind of awful thing in order to justify the way he is. Because otherwise, you're just like, "You're an idiot." And this turns him into something that had really traumatic, and so you could understand it. And I was worried about that being in a kids book, but I'm like, "It says what it has to be." I knew it was infiltrate the <library>, altar, Attica. But I didn't know all the details, just like I usually don't for the Alcatraz books. Those are supposed to be improv.

TheBlueShifting

I have heard you say you consult with doctors, physicist, and other professionals in order to keep your books as grounded in reality as you can. How did you meet these individuals and how early in your career did you have their help?

Brandon Sanderson

This is something that grew far easier once I had access to resources such as my editor at Tor. Moshe knows EVERYONE, and he's been able to get my writing into the hands of various experts for review. I didn't do this as much in my unpublished days; it's something I've come to learn and appreciate in the last ten years.

Argent

Cosmere healing. Some magic systems have internal healing, such as Stormlight; external healing, such as AonDor. With internal ones, the perception of the magic user seems to matter a lot. Is that also a factor for the external ones?

Brandon Sanderson

So, there are various types of healing in the cosmere. We have things like Stormlight, where you get the Stormlight and it heals you, and that one is very, very influenced by your perception. How you view yourself, and what you view as being healed, has a huge influence on what actually happens to you. Externally, if someone heals someone else, like a Knight Radiant uses the power to heal someone, or an external force heals them, is it still filtered through perception? I'm gonna say both perceptions are important in that. They both are relevant.

Questioner

So, at the end The Bands of Mourning, I kind of noticed what seemed to me like a massive implied spoiler for Stormlight 5.

Brandon Sanderson

Okay, what is that?

Questioner

Red mist, not in the Roshar system.

Brandon Sanderson

Right.

Questioner

So, I wanted to ask you, how do you handle interlacing stories without, like, giving spoilers on the one hand and being faithful to the logic of the world on the other?

Brandon Sanderson

Yeah, it's actually been a bit of a challenge and I just had to be aware that people might read your books in any order and things like this. So, when I'm doing stuff like that, I'm usually being a bit more coy than I look I'm being. That seems like a very, very big spoiler, but...

Questioner

But I assumed that it could be like Autonomy or Ambition...

Brandon Sanderson

So, there's more going on there, but yeah, I do take care. The real trouble has been wanting to do short stories in the future, like Sixth of the Dusk, and I had to be really careful with Sixth of the Dusk, not giving away too many things about the main stories.

Questioner

Yeah, like, who are these people...

Brandon Sanderson

So, I'm more coy than I look like I'm being, how about that?

Brandon Sanderson

So, today I think I’ll post part of a proposal I’m working on for Tor. I’m going to send this to them, so that Tom Doherty can read about my plans and goals for the future before he and I meet in New York next week.

Enjoy.

Introduction

Writing is art, but publishing is business.

I’ve always believed that in order to succeed in this field, I would need two things. First, I’d need an excellent work ethic. Second, I’d need an eye toward my eventual goal of becoming a professional writer. When I started writing in earnest seven years ago, I realized that the chances of any one book getting published were slim, even if it was a superior manuscript. Therefore, I didn’t let myself stop writing–I figured that the more books I had to send out, the sooner I would get published. When Moshe finally called to purchase ELANTRIS, I was working on my thirteenth novel.

This background gives me an advantage, I think, over other first-time authors. I understand my writing style far better than a writer sold the first book he wrote. I know what I do well, I know what people enjoy from my books, and I have had time to hone and practice my craft. I also have a great wealth of intellectual property in the books I’ve already written. I don’t want to publish any of those books themselves–readers deserve to get books that represent my best and most current skill level. However, the ideas and settings I developed in those previous works can provide models for what to do in the future.

My foremost distinguishing attribute as a writer is my ability to create interesting settings and unique magic systems. I don’t use the standard fantasy setting–nor do I even use an iteration of it. I strive to push this genre to its full potential, giving my readers something new with each book. Another of my strengths is my ability to push my books’ plots toward dramatic climaxes with well-foreshadowed surprises and twists. I also think that I have a flair for witty side-characters and powerfully-motivated viewpoint characters.

My weaknesses are offshoots from these strengths. My books build slowly sometimes, and so the first quarter or so of a given novel tends to be the slowest. My books also have very steep ‘learning curves,’ meaning that because they have original settings and magic systems, it can be difficult for readers to grow accustomed to all of the new elements. Finally, I’m not a brilliant prose craftsman, though I think I’m getting stronger in this area. One of the things I’ve learned during my years practicing is how to focus my books around my strengths as a writer, while at the same time minimizing the effect of my weaknesses.

I’m at an interesting point in my career. My original goal, that of getting published, has been met–indeed, I’ve succeeded beyond what I dared dream was possible. I’ve been picked up by the most prestigious publishing house in fantasy, and am releasing a book in hardback.

However, getting published was always just a step. My real goal is to build a career as a writer. You don’t do that by publishing one great book–you do that by publishing a great book, then publishing an even better one the next year, then an even better one the year after that.

I can do this. However, I realize the need for a plan. Therefore, I’ve begun to look at the various books and series that I’ve written recently (within the last year) or am planning to write very soon. I’ve never published before, so I’m not sure which direction to take my career. Therefore, I developed this list of my most promising new and upcoming works so that I could get your advice on what plan I should use during my next five to ten years of writing.

Summaries of five series I’ve been developing follow. At the end, I’ll give a summary of my thoughts regarding my future.

Chaos

So Aona is a synonym for love, hmm? Is Charity the correct Shard name?

Brandon Sanderson

Not quite. I’m trying to remember what the guesses were for the other Shard on Sel. I may have dismissed them too quickly.

Chaos

How about Mercy for Aona, then? The guesses for Skai’s Shard include Devotion, Obedience, and Order

Brandon Sanderson

Okay, I was right, then. Ha There’s something very ironic in all of this.

Questioner

When you're having a hard time writing some of your... for example, the Rithmatist, you said came out of struggling to finish something.

Brandon Sanderson

Yeah, I was struggling to finish another attempt at Hoid's origin story that wasn't working. So I jumped over and wrote something else.

Questioner

I was wondering if you could talking a little bit about how working on another project... Is it the fact that that idea is sitting around in your head that's keeping you from...

Brandon Sanderson

Good question. So, the question is, "Working on another project. What makes me jump? What makes me excited? What's going on?" It's very dangerous to get in the habit of jumping projects. And I've trained myself not to do this except in extreme cases. But once in a while, you just hit a funk on a book so much that you don't want to let it become a theme, you don't want it to let it become momentum for you, or the lack of it. And so I would jump to something else that it's just repeatedly, it's just not working for me. And I know my writing style enough to know that that's not common to me. If it happened every project, then it would be a problem I'd need to push past. In that case, the book just wasn't working, and I'm gonna work on this other thing that I'm really excited about, just to make sure I'm recapturing my love of writing, and not getting into a funk. And that, actually, is kind of how I manage my writing overall. I will jump projects after I finish something to make sure I don't get burned out on writing. As soon as I finish something, I look for something very different to do, in order to keep myself fresh. And that's why you see these lots of different things for me, is because that is how my psychology works. I always need to be doing something new.

Brandon Sanderson

Also, just in case you're wondering, the Bright Sea and the Inner Sea are both the same place. It's another Idris/Hallandren thing. Most mountains, oceans, and lakes have two names—the Idrian one and the Hallandren one. Originally, this happened because there was bad blood between the two kingdoms, so they'd call things different names in order to differentiate themselves. Ironically, in a lot of cases both names have stuck, and both kingdoms have found themselves alternating between the two names.

Inner Sea was the Idrian name for the body of water, renamed because they wanted to downplay how important it was. (Idris is landlocked, after all.) Bright Sea was the original name.

Questioner 1

Do all Soulcasters risk turning into the element or is it only those using the device?

Brandon Sanderson

All Soulcasters have an affinity but the ones using the device are locked down much more than the Soulcasters who are Knights Radiant.

Questioner 1

So they are protected from being turned into--

Brandon Sanderson

Oh no they-- I wouldn't say protected... *clarification* Protected is the wrong term but that event, the savanthood and how it affects them and things like that is much less pronounced if you are a [Knight].

Questioner 1

Or is that counteracted by the healing as well?

Brandon Sanderson

Healing doesn't have to do with it because-- in cosmere terms there's nothing wrong with your body, your spirit is actually drifting, and so it's not hurting you physically by what's happening with the magics. So it's not the healing but if you have an active bond with a spren it takes a little different path. Let's just say, in simple terms--

Questioner 1

You are not losing body parts to smoke.

Brandon Sanderson

Yes, you are not losing body parts to smoke. 

Questioner 1

What timeframe does it happen for the normal Soulcasters then?

Brandon Sanderson

For normal Soulcasters? It takes-- I mean, you've seen it happening in the books. We are talking [about] a process of years even decades, depending on the person. It happens to some--

Questioner 2

Depending on how often they Soulcast?

Brandon Sanderson

It depends on how often they Soulcast, and it depends on the person. 

Questioner

I'm sensing a subtle metaphor between all of the Radiants, where it seems like their lives have caused them to be pressurized gems and now they get the cut from their Oaths. 

Brandon Sanderson

Nice job. Yeah.

Questioner

They're holding Stormlight better when they do that, right?

Brandon Sanderson

They are indeed.

Thedingerdonger

Elhokar's Shardblade has all ten orders.

Ben McSweeney

Just to stir the pot for giggles, I can confirm that Brandon specifically called for that particular detail. Hence the extra bit of the glyphs next to the Blade.

Could not tell you why though... he never told me! :)

Every Blade depicted in the Shallan art so far (except perhaps that cleaver-looking beast in the dueling drawing) went through multiple design passes. He definitely cares how they're depicted.

derioderio

Are the two Shardbearers sparring at the bottom of the page holding Mayalaran and Oathbringer?

Ben McSweeney

Not Oathbringer for sure, because we have a particular Oathbringer design. That chopper is of no particular provenance at this time, at least that I know of.

Though it's not unheard of for Brandon to pick a design that I had thought of as being "throwaway" and elevate it to something significant. :)

Brandon Sanderson

The Butler

If you watch in these scenes, I'm trying very hard to set up the butler's eventual betrayal. This one must be done very carefully, however, for a couple of reasons. First off, Tillaume is actually a pretty good person. Loyal to Wax's uncle, true, but a good man. He doesn't want to kill Wax, but he sees it as important and understands what must be done.

What he is doing here in discouraging Wax is an attempt to keep him from drawing the old Lord Ladrian's attention. Tillaume knows that if it goes too far, Wax will have to be removed. But Tillaume is fond of him, and doesn't want that to happen. Hence his disapproval. He doesn't actually know he''ll be ordered to kill Wax; in fact, if he had known that he'd be responsible, he probably would have tried harder to sabotage what Wax is doing in these chapters. It takes him a little by surprise that Wax does all this, however, as Tillaume thought he'd sufficiently discouraged such behavior.

Questioner

How much of your input was put into the Wheel of Time books that you did, or was it strictly of the notes that Robert Jordan had?

Brandon Sanderson

How much of the Wheel of Time books was through me, and how much was from the notes? ...When I went to pick up the Wheel of Time materials, I was handed two things. One was a stack of 200 pages. That 200 pages contained about 100 pages of written material that Robert Jordan had written for the last books. And about 100 pages of that was interviews with his assistants, Q&As about what was going to happen. The other thing I was handed was a disk with all of his worldbuilding notes. This did not contain much at all about the last book. This was just the worldbuilding through the whole series, talking about the different cultures and things like that. And I used that to write the books. So the actual writing, I would say, it's very hard to say. I was given full creative control, I will say that. Harriet said "Take this. I'm an editor, not a writer. Do what you feel you need." In all of that, there was one sentence on what to do with Perrin. So, you can guess, if it was Perrin, it was me. There was a whole lot done with Egwene. In fact, almost, I would say, half of her scenes were written, in fact half of that stack was Egwene stuff; of the hundred pages, fifty pages just written about Egwene and a big stack of notes on what to do with her. If it's in the books and it relates to Egwene, you can almost guarantee that that is something Robert Jordan wrote or instructed me to write. With Rand and Mat, it was about half and half. Gathering Storm Mat and A Memory of Light Mat was more me, Towers of Midnight Mat was more him. A lot of his Mat stuff related to the Tower of Ghenjei. Rand was sprinkled all the way through, about half and half, I would say, on that. Most of the words you're reading are mine. Almost everything he wrote was either Egwene or ended up in the three prologues.

So, yeah, it was a big project. There was not a lot finished on it. But at the same time, those interviews, with him with almost all the characters he kind of talked about who they were, where they were going, what the arcs he envisioned for them being, and things like that, which gave me a lot to do. And even the one thing on Perrin was near the end, so I knew what to shoot for, if that makes sense? And one of the things he did write is what ended up as the epilogue. I had a target, if that makes sense. Although, a lot of the actual writing was on me to do, which is why they had me do it, by the way, rather than getting a ghostwriter. If it had been 90% of the way done, they could have just gotten someone to quietly come in and finish those last few scenes, and it would have been the right thing to do, because it was mostly done by him. The fact that it wasn't, meant they needed a writer to actually put the whole thing together. There wasn't an outline. Robert Jordan was a discovery writer. He knew what he wanted to have happen, but he had no order or form or anything like that.

kurvyyn

Sja-anat tries to convince Shallan she is not her enemy and tells her, "Ask my son." Is the son that she's referring to, is that Pattern?

Brandon Sanderson

No. Sja-anat is referring to--I'll try not to give too many spoilers on this--if you look through the books for a spren that does not seem to belong to Honor or Cultivation, but is bonding a Radiant, that is where you want to look for Sja-anat's influence.

kurvyyn

Is it Glys?

Brandon Sanderson

RAFO!

Death Magnetic

I'd first like to say that this series was fantastic. I was exceptionally pleased with how you tied everything together in this final book of the trilogy.

(1) This series has the best world-building, magic system, and over-arching plot of any epic fantasy I have ever read. I think George R.R. Martin is still the master of creating memorable characters, developing them, and having them interact with each other. Other authors, like Hobb and Rothfuss, are better at evincing emotion. You are an amazing writer yourself.

That being said, I have a couple suggestions for you.

(2) The first contradicts itself, so take it for what it is. I would suggest that you write how you feel the story should be written. Getting inspiration from someone is one thing, but changing your work because some people want a happy ending or dark ending takes away from the purity of writing. The part you added in at the end where Sazed let Spook know Vin and Elend were happy in the afterlife really stuck me like a thorn. I think it was apparent how happy they were together in life and how necessary their sacrifices were. That would have been enough for me.

(3) My other suggestion is more of a plea really. Please don't extend this series just to capitalize on it. If you really feel there is more story to be told, then tell it. I, for one, thought the ending would have been perfect if allomancy, hemalurgy, and feruchemy would have faded from existence as their corresponding gods did. It would have been rather romantic to have people start over with a new "normal" world.

Congratulations again on completing a masterful work!

Brandon Sanderson

1. You humble me. I don't think I've NEARLY the skill for characters that Mr. Martin does, and that's not just an attempt at modesty. I hope to be there some day, however.

2. This is a tricky one. I didn't change the worldbuilding or the cosmology of the story in order to fit what people wanted, but I feel strongly about using writing groups and test readers to see if my intention in a book has been achieved. I show things to alpha readers to see what is confusing or bothersome to them, then decide if that's really something I want to be confusing or bothersome.

In my mind, the presence of a powerful being such as Sazed, mixed with some direct reaching from beyond the grave by a certain crew leader, indicated that there WAS an afterlife. However, test readers didn't get it, so I tweaked the story to make it more obvious. Perhaps I should have left it as is, but I liked both ways, and decided upon the one I liked the most in the context of reader responses.

I do plan to always tell the stories from my heart, and not change them because of how I think the reactions will be. But I do think it's important to know what those reactions are ahead of time and decide if they are what I want or not.

3. We are on the same page on this one. You can read other posts on the thread to see what kind of thoughts I might have for more Mistborn books, but I don't know if/when I will write them. It depends on the story and how excited I am to tell it.

Rustbringer

Hey, I've been trying to figure out how Elhokar was 'broken', and I'd like to check if I'm on the right track. Obviously he isn't paranoid (since his fears of assassination and the people he sees in the shadows are very real), so i looked a little closer at his behavior and I noticed he never feels bad about how his decisions impact other people, and doesn't react to his sister's death/resurrection but does constantly worry about how people talk about him.

Combined, that really seems like he's somewhere on the spectrum of narcissistic personality disorder, what with "an excessive need for admiration, and disregard for others' feelings,"

Am I in the right ballpark?

Brandon Sanderson

Yup, you are right on target.

Do note that the idea that a person needs to be somehow 'broken' is an in-world theory that isn't 100% validated by the people chosen as Radiants. People have, however, noticed a trend in-world, which is valid.

Questioner

Why did Hoid in Secret History have to ride on another person to get to the Well, when that person could float on--

Brandon Sanderson

Sooo, what he's floating on is a Cognitive Shadow. It's a spirit, it's not an actual person. He is floating on someone who is--

Questioner

Do we know them?

Brandon Sanderson

You did not know them, don't worry about them. But see, he's using that as a boat because it's easy to sink through the mist. And if you notice, he has to coat his oar with Investiture in order to move him. So yeah, he's floating on a person's soul... It was so much easier with the Pits, but that's because there were boats and things.

EHyde

And, how were the Radiants able to summon their Shardblades at the Recreance if they'd already decided to break their oaths?

Brandon Sanderson

Their Shardblades are part of what brought them to—part of the Oathpact—but breaking the Oathpact did not affect their ability to bond or unbond Shardblades.

Shawn Speakerman

You brought up the magic system [of Way of Kings], and it's fairly unique. It's hard to wrap your head around it at first, but once you get into the story it actually makes a lot of sense. So, how long did it take you to develop that actual aspect of the novel?

Brandon Sanderson

It depends on the book. For this one, it's been going for a long time. This is one of the magic systems I've just been playing with forever, the idea...

Now, I describe the basics of the magic systems, and I'm worried that that will scare people off, because you don't need to know any of this stuff. The magic is fun, it should be just part of the story. But if you really wanna dig deeply, this one is based off the idea of fundamental forces. The [four] fundamental forces. Gravitation and electromagnetics and strong and weak nuclear forces. Those are the concepts that built this magic system, where I built an idea of a world with essentially ten fundamental forces, and built ten orders of Knights, each who learn to manipulate a type of these forces. So that is a growth over about ten years of work, to build this magic system with these ideas of "How can I make these fundamental forces manipulate them, what can it do? How can I make surface tension into a magic system? Or how can I make pressure into a magic system? Or gravitation that works in a magic system?"

But in other ones, it's just a quirky idea that occurs to me. Warbreaker, I spent only about four months building the magic system for that; an idea, you know, sympathetic magic of bringing things to life and using Breath as a metaphor for someone's life just kind of fell into place and worked together, and I did it. It depends on the book.

Zenith

Szeth mentions that Lashings don't work with shardplate (on?). Is there any way to get around this (As in, lashing with Shardplate on, or lashing people with Shardplate on), and, if so, does it have anything to do with the Knights Radiant and/or their Ideals?

Brandon Sanderson

This has to do with the nature of the magics in the cosmere. They interfere with one another. Something that contains a lot of power--we call it Investiture--resists the efforts of magic to influence it. A strong spirit can interfere as well.

Aurimus

Has Brandon said that the Shardblades are based off of the swords from Soulcalibur/Final Fantasy. (You know, those stupidly huge swords?) Or are they just normal swords when it comes to the shape and size etc?

Ben McSweeney

Shardblades come in many shapes and sizes, but are often larger than normal swords, in order to fight larger-than-normal enemies.

Not always, though. Szeth's Blade, for instance, was about the size of a scimitar.

There is no single source or work from which the inspiration was drawn. It's a refection of a common trope, instead. Isaac and I created a few dozen silhouettes, and Brandon chose the ones he liked best, and we've been extrapolating from there ever since.

potentialPizza

Who are your favorite characters in the Cosmere?

Isaac Stewart

Dalinar, Nazh, Khriss, Hoid, [Nicki] Savage, Vin, Kaladin, Vasher, and Baon, exactly in that order. :) But honestly, I love them all. Brandon has created such a wonderful universe of characters, and I pinch myself every day that I get to assist in the workings of these worlds.

Araedox

Even Moash?

Isaac Stewart

Moash has become a great tragic character, in my opinion. Yes, people love to hate him, but that still makes a great character. And it's the tragedy of his choices that pulls the emotions from us.

Poser1313

Does anyone understand what [Brandon] means in saying that dead Shardblades cannot heal the soul, whereas living ones can?

It seems like it's been a while since I've read WoR, and I can't make out how the original scene demonstrates this? Is he talking about Kaladin's soul or Szeth's?

Peter Ahlstrom

I don't understand it myself, except that two Orders can use Regrowth. But that might not be what Brandon is talking about.

Questioner

I have a question about the epilogue in The Way of Kings. You have Wit give this interesting, kind of philosophical-- sermon-thing on novelty. I wonder, what do you think about what he's saying, do you--

Brandon Sanderson

Usually those little things that Wit will do, he does one at the end of each book, are things I've thought about. I don't always one hundred percent agree with Wit. He tends to hyperbolize in order to make a point, but I do think it's really interesting that novelty is so important to us. Even if you did something independently, but come up with it after someone else, then it's not considered as great an art, right? Which is really, really, really interesting if you think about it. And I love that idea, and I like talking about that sort of thing, so these-- All of Wit's little monologues--there's one, like I've said, at the end of each book--is something I think about, but he goes off in his own direction sometimes.

Questioner

I've used that little monologue in some philosophy class that I've in, such as philosophy of art.  

Brandon Sanderson

I did take a-- I took a lot of philosophy classes, if you can't tell, during my undergraduate years. I was quite fond of philosophy. Though the philosophers were all really needed to learn how to write. Man, those guys just, I mean, paragraphs like this that don't really even say anything. I love the ideas, but man, they could use editors. But, yeah, I enjoyed my philosophy classes, and I really liked philosophy of art in particular, it's very interesting to me. The whole Oscar Wilde's intro to Dorian Gray is my favorite speech on art, that all art is, by necessity, useless. Stuff like that really, really gets me going.

Amaowin

So men cannot write, it is a feminine art. Women do all the writing and reading while also covering their left hand with a sensible long sleeve (not godless whores). But what if a proper Vorin woman is born left-handed? Would she be forced to wear a glove in order to write? Or would she do her best to write with her right hand to avoid her sinful nature as a lefty? I wonder if these women write in secret, away from the lecherous eyes of others, and expose her safe hand to write freely.

These thoughts keep me up at night. I pity these left-handed Vorins for the rough life they must live.

Brandon Sanderson

This isn't as big a deal as you might think, because for a lot of the population, they just wear a glove and use their left hand.

It gets interesting when you are upper class, female, and left-handed. Part of the inspiration for the safehand was the way that the left hand is regarded as unclean in some of our cultures on Earth. You might be curious to read about what left-handed people did, historically, in some middle eastern cultures.

The short answer is "They learn to be ambidextrous" but the long answer is that it can be quite a pain, and very embarrassing. So yes, you are right to feel sorry for those left-handed Vorin women.

Questioner

Where did you get your inspiration for having kind of a kind of consistent universe; it's kind of similar to Stephen King and things like that.

Brandon Sanderson

Yeah, where did I get the inspiration for that? There's a couple of places, and I don't want to go off on this too long, if you go look on the Q&A database that these guys have on the 17th Shard you can find more.

But there were really two things that made me do it. First off is reading how Asimov did it and really being impressed with what he did and also noticing that he had to like do some patches in order to make everything work. Asimov connected his Robot series and his Foundations series after the fact many years later. It turned out really well; the two series, as it turns out, blend together in a really cool way but it felt to me it felt after the fact . And I wanted to do something from the get-go and say, "Well, if I've got something like this as a model." Stephen King did it also, but he did it after the fact. But I've got writers like this as a model to show how cool this can be, so my question to myself is, "How much cooler can it be if I do it from book one?" And you know, it's the sort of advantages you get as a writer by standing on the shoulders of authors like that, who have done these awesome things in the past. It allows us to kind of see what they did and say, "Okay, how can I expand on this? How can I do something new, rather than just doing what Asimov did?" And one of the approaches was to try it from book one.

And the other reasoning was that I like big epics but I also want to be writing a lot of stand-alones. And early in my career in particular, it was important for me to be writing stand-alones. And so the hidden epic behind the scenes allowed me to embed some of this depth of foreshadowing and connection in a way that would not be intimidating to readers because they could just read the story and enjoy the stand-alone. And then if it's something- if they're the type that really gets into this and really wants to dig deep, they can find the other level and be like, "Wow, there's an epic on here and Mistborn is a sequel to Elantris. I didn't know that," and things like that. Or they can be read completely independently and you never have to worry about that. So I like that versatility.

I will eventually write some stories connecting all of these things in a more obvious way, but I don't want it to come to the forefront of any series that that's not already the focus. For instance, I don't want Way of Kings to be about that, because I've already promised you what Way of Kings is about. And I don't want then to trick you into, "Oh, now it's this other thing." I have books planned that will be that, but they're a little ways off.

Steeldancer

The Heralds, back before Honor died, were they directly powered by Honor?

Brandon Sanderson

Yes. You’ll find out more about that, but the Shardblades [pretty sure he means Honorblades here] were pieces of Honor’s soul that he gave them and direct access to his essence.

Steeldancer

Like Vin and Elend?

Brandon Sanderson

Yeah, a little like that. That’s why Honorblades don’t work like Shardblades do, like Radiants do.

Steeldancer

The second part of the question is, what would happen if they were directly powered by Honor and they were holding Nightblood?

Brandon Sanderson

RAFO

Questioner

Is there any character that you think you have learned something from while writing? Or--

Brandon Sanderson

Each character that I write is a mix of two things. It is a mix of some part of me, and something very different from myself. In order to write those characters, I usually do a lot of exploring and trying to find out about people who are like the character that I'm writing, and that teaches me a ton. You could say that the character has taught me a lot on that case. Doing, for instance, Kaladin, and trying to write a hero with depression whose story is not about having depression, and going to people I know and people I love and people I don't know, and asking them what it feels like, has taught me a whole ton. I don't know if that answers your question, but often the exploration of where a character goes is me exploring my own thoughts and feelings on an idea. And I would say that every character, to an extent, takes me on a journey as I write them, and kind of combine myself with something else. So yes, they all have, but also they all are partially me.

Questioner (paraphrased)

Someone else’s question was about the safehand.

Brandon Sanderson (paraphrased)

So that essay he told us about, the one that defined masculine arts as being ones with two hands and feminine needing only one? That was in order to let men secure power over Shardblades.

Argent

Renarin, his visions of the future are they connected to one of his Surges? Both of them? Are they a side-effect of his order?

Brandon Sanderson

Umm...

Argent

Like I can kind of fit in the two of them...

Brandon Sanderson

Alright, how much of a spoiler do you want on this?

Argent

All of it.

Brandon Sanderson

*Incredulously* Really?

Argent

Is that even a question for me?

Brandon Sanderson

Do you want to know something secret that you then can't post?

Argent

*sighs* How-- Is it something that is going to come up in Book 3--

Brandon Sanderson

Yes.

Argent

--or later.

Brandon Sanderson

It comes up in Book 3.

Argent

I'll bear the burden.

Brandon Sanderson

You'll bear the burden meaning I can tell you?

Argent

I'm going to pause this actually... *Audio paused*

Truthwatcher_17.5

Will Adolin ever become a Knight Radiant?

Brandon Sanderson

That's a RAFO!

William Anderson

Why are do the Windrunners, Elsecallers, Stonewards, and Dustbringers have an extra connection on the Surgebinding diagram? Why do the Edgedancer, Skybreaker, Lightweaver, Willshaper's have a broken connection on the diagram? What are the dragon type things in the back of the diagram?

Brandon Sanderson

The dragon type things are a certain animal you've seen several places in the story so far.

These connections will be explained eventually, but remember it's not the orders being connected, but instead their elemental representations. This diagram is very metaphysical, and some of the elements of it are cultural.

Questioner

Is the reason that the Fused have access to unlimited Voidlight because Odium is alive, and did the Radiants have that sort of access [to Stormlight] when Honor was alive?

Brandon Sanderson

Not exactly... They do not have access to unlimited Voidlight, how about that.

Brandon Sanderson

Lightsong Refuses to Get Out of Bed

As I've already mentioned, this is a chapter where—after a climactic focal point in the book—the characters backslide a tad in order to enforce that there are still struggles going on. Did I consciously decide this? No, honestly. I sat down to write this chapter, and I felt that I needed to spend a little more time focusing on the conflicts of the characters. So that was intentional. But the placement in the book? That was just by gut instinct.

Llarimar has been holding this little tidbit—the knowledge that he knew Lightsong before the Return—back for just the right moment. He knows his god well, and understands that information like this can be very powerful as a motivator. He's been waiting for years to use this hint at a time when Lightsong was morose. (And yes, that happens to Lightsong fairly often.) This seemed an important moment to keep the god motivated, so Llarimar doled out the tidbit. Talking about the past of one's god is unorthodox, and maybe even a little sacrilegious. Fortunately, one of the nice things about being high priest is that, on occasion, you get to subtly redefine what is orthodox and what isn't.

He did make sure to send the servants away first, though.

Badger (paraphrased)

Who bonded with their spren first, out of the new Radiants?

Brandon Sanderson (paraphrased)

Chronologically, and of the ones we know, Jasnah.

Brandon Sanderson

So what you've got there is the beginnings of me exploring an idea I had many years ago, about a world where bacteria and viruses would grant magical abilities in order to keep you alive long enough to spread the disease. It's this basic survival instinct, if they were somehow able to grant this. So you catch the common cold and you can fly, until you get over it and you can't anymore. I thought "Wow, you would need some super CDC soldiers--right? Center for Disease Control--to keep this from getting out of control."  his is kind of a cross between counter-terrorism and the CDC, in a fantasy world where when you catch a disease you get a magic power. Pretty weird.

Questioner

So Nightblood is sentient, he can make choices, and now he is in Roshar. Could Nightblood bond a spren and become a Radiant?

Brandon Sanderson

Could Nightblood bond a spren-- *drowned out by laughter* That one's just a bit farfetched. *laughter* I rarely say anything is impossible but let's just say that one's pretty farfetched.

sandersonfan

I've read that you were thinking of 32-36 books total for the Cosmere, but it seems like the series are going to go beyond that if numbers you've given before are published (e.g. Mistborn being a trilogy of trilogies so 9, Stormlight Archive 10, Warbreaker 2, Dragonsteel 6 or 7, and still White Sand and others to come) so has the estimate of 32 been thrown out the window?

Brandon Sanderson

Eh...I don't know. My original breakdown:

Mistborn 9 Wabreaker 2 Elantris 3 White Sand 3 Stormlight 10 Silence Divine 1 Dragonsteel 7 (A two book and a five book.)

That's the 32, with allowances for a few side stories to get us to 36. There are planets not included in that, however, that I may write stories about. So maybe. But the core cycle is this (in order)

Dragonsteel Mistborn first trilogy Stormlight - Mistborn second trilogy (around the same time.) Mistborn third trilogy.

Everything else is important in their own stories, but as we're talking about the connections between the worlds are considered, this is the prime cosmere cycle.

Tirithna

Does Shardplate have one general style as a pattern, or do different types exist (like European armour vs. Japanese armour), as the different kingdoms have different cultures?

Brandon Sanderson

Different types exist, but it's more along order lines than cultural ones. (That said, a person's culture could certainly influence their armor.)

Brandon Sanderson

The book [Oathbringer] did great, and I'm doing just fine. US and UK publishers are both very happy. I achieved financial independence through my writing years ago at this point, and I have plenty of money. I have enough in investments that my passive income would be enough to live for the rest of my life at my current standard of living--I write purely for artistic satisfaction. (Which has kind of been the way it's always been, but it IS far less stressful now.)

We're generally really coy about talking numbers in the book industry, perhaps because we don't want to brag. There are a ton of authors out there who sell less than 1k books on a new release, and so flaunting my numbers...well, I don't know. It makes me uncomfortable.

That said, remember that books and records don't sell as much as people assume they do. Taylor Swift, one of the most popular singers of our time, sold...what, 1.5 million albums the first week of her last release? Granted, album sales aren't what they used to be (it's all about streaming now), but film numbers tend to make us inflate book and album numbers in our heads. 2k book sales is enough to get on the bestseller list, many weeks of the year.

(As an aside, when Elantris sold 400 copies its first week, and I was devastated until my agent told me that was actually really good for a new author hardcover.)

That said, we did WAY more than 400 copies, and Oathbringer is the bestselling book I've ever had out of the gate. It's probably more like double or 2.25 the opening of Words. (When I said 3X I was forgetting that my Words of Radiance figures didn't include audio, while my Oathbringer numbers did.)

Oathbringer will likely crest a million copies across all formats--but it will take a number of years. I'm not sure if TWOK has hit a million yet, for example. (Though if it hasn't, it's in that neighborhood.) Very few books get to 10mil without some kind of film or television franchise to propel them. I'd guess that the only single sf/f book sitting at over 10mil copies without a major adaptation is Foundation.

Anyway, Oathbringer's success won't stop the publishers from griping just a little that the books are too long. (Bookstores complain that they don't fit on shelves very well, and take up too much space, things like that.) But the book will still sell more copies than any other new release the publisher has this year, and if they do gripe, it's mostly just habit at this point. They're actually quite pleased. They just can't help imagining a world where they could split Oathbringer into three smaller books, and make the bookstores happy while making more money.

(And note, you shouldn't be annoyed at them for this. The publisher's job is to point out financial realities, as authors tend to be very bad at such things. They didn't try to force me to cut or split the book. They just always ask, very nicely, "Is there a way the book could be shorter?" and I reply, "Sorry. But this is how it has to be." And then they go about making it work.)

Be warned, though, we might have to go from hardcover straight to trade paperback (skipping the mass market paperback) because of printing realities.

alexanderwales

One thing I've long been curious about: how much does putting out a new book in a series increase sales of the first in the series? I would assume that Oathbringer caused a bump in sales for The Way of Kings, but I'm not sure to what extent, or if that assumption actually holds true.

Brandon Sanderson

The assumption holds true. Bookscan for last week proves it. This is only print books recorded by retail chains, so it's only a small glimpse, but it's most of the print numbers. (As it does include Amazon and B&N.) I'll put numbers from six months ago in () after, so you can see the growth.

TWOK: 1500 copies (700)

WOR: 800 copies (450)

TWOK: Trade Paperback: 650 Copies (156)

TWOK Hardcover: 454 (123)

Mistborn 1: 450 Copies (350)

Mistborn Trilogy Boxed Set: 450 Copies (350)

Words of Radiance Trade paperback: 380 copies (Not out yet)

Words of Radiance hardcover: 270 copies. (130)

Steelheart: 325 copies (274) Arcanum hardcover: 280 Copies (180)

Bands of Mourning, Shadows of Self, Warbreaker, Alloy of Law: All right around 230-260 (Maybe 10% different.)

Elantris, Firefight, Calamity, Mistborn 2, Mistborn 3: 160-200 (Same.)

Lowly Rithmatist at the bottom with 113. (85)

Note that some things, like the hardcovers jumping up in sales, are because bookstores ordered them special for my signings.

Innoculi

What about digital copies?

Brandon Sanderson

They tend to run 2X the print, but I don't get an email with them every week like I do print--so I don't track them as closely.

Brandon Sanderson

Part Seven: Other Cool Projects Stormlight Children’s Book

A publisher Isaac has worked with doing picture books asked if maybe we could do an adaptation of “the girl who looked up” story that Shallan and Wit tell in Oathbringer. We thought this was a pretty cool idea, and so Isaac is working on the adaptation. If we do this right, it could come out around the same time as Book Four.

Brotherwise Call to Adventure Board Game

This summer, Brotherwise Games will release Call to Adventure: The Stormlight Archive. Originally planned as an expansion for the board game Call to Adventure, it has grown into a full standalone game with 120 cards and everything you need to play. Call to Adventure is a hero-crafting game that combines strategy and storytelling. It’s similar to some “tableau-building” games where you’re creating a kingdom or civilization, but in this game you’re building a character. Each player begins with cards that define your hero’s origin, motivation, and destiny. Over the course of the game, you overcome challenges and gain traits. It’s a game with points and a clear winner, but the highlight of every game is telling your hero’s story at the end.

The guys at Brotherwise are huge fans, and they’ve worked closely with us to make sure the Stormlight Archive game is true to the books. It emphasizes cooperative play as players become Radiants and face Odium, but it’s possible to choose a villainous path and work against the team. The cards are all inspired by familiar scenes and themes, and in Call to Adventure you’re piecing together those moments to tell new stories. Here’s a sneak peek at illustrations for some of the cards: Choose A Side (Ganna Pazyniuk), Herald of Justice (Petar Penev), Face the Unmade(Artem Demura), Leader (Ari Ibarra), Elsecaller (Randy Vargas), and One More Try (Artem Demura). Expect more news on the game closer to its release date in summer 2020!

Crafty Games Dice Kickstarter

If you’re reading this when it comes out, know that you’ve only got a few hours left to get in on the Mistborn dice Kickstarter (and help them try to meet their final stretch goal). This should be the last Kickstarter we do for anything until we reach the Stormlight one in the summer.

Crafty has been doing great work on the RPG front, and have been an excellent partner. If you’re at all interested in dice, have a look at their Kickstarter. I’m really looking forward to getting mine!

Questioner

Aside from The Apocalyse Guard, are you planning on making a sequel to Calamity?

Brandon Sanderson

This is actually a really good question, because Apocalypse Guard was going to dig in to a few of the questions that Calamity asked at its ending. And so cancelling Apocalypse Guard leaves me saying, "Well, I maybe need to answer those questions." So there's a chance I will do a Mizzy book in the future. I'm not 100% sure, because I want to be closing off more things than I'm opening these days, so promising more sequels is a bad place for me to be.

But to run down the big sequel list, Legion is done. Reckoners is done. It doesn't mean that I might not do more, but just consider it done for now.

Alcatraz versus the Evil Librarians, halfway through the last book. Don't believe Alcatraz when he says Book Five is the end. He lies. You should know that from Chapter One of the first book. The last book is called Bastille versus the Evil Librarians. That one should be out pretty soon. That is the last book. You can trust me on that, because I'm saying it, not Alcatraz...

Rithmatist, I can't promise. It's the number one requested sequel I get. I was working on it when the Wheel of Time came along, and The Wheel of Time changed my career dramatically. It's been very hard to figure out how to do that sequel the right way. So no promises when on that, though it is still on my radar.

Warbreaker, Elantris, probably yes, but not until Stormlight Five is done. Stormlight Four, I start on in January. You can follow the progress bars. *applause* The last Wax and Wayne book will probably be also next year, as I need to take a break at some point from Stormlight.

If it wasn't on that list, then don't hold your breath. Most of the novellas I write, I write specifically so that I won't be starting a new series. Turns out if I write a novel, I'm very bad at writing that novel standalone by itself. Instead, I've written novellas in order to get the idea out of my head and be expanding the cosmere in interesting ways but not be promising sequels, okay? That said, there's a Threnody novel somewhere in me that will probably come out.

John Ottinger

How did the idea germinate and come to fruition for the gem-studded magic system of The Way of Kings?

Brandon Sanderson

One of the things to keep in mind is I that developed this book before Mistborn was published. I do wonder if sometimes people are going to say, "Oh, he did metals before, and now he's doing crystals." But the thoughts arose quite independently in my head. You may know that there is a unifying theory of magic for all of my worlds—a behind-the-scenes rationale. Like a lot of people believe there's unifying theory of physics, I have a unifying theory of magic that I try to work within in order to build my worlds. As an armchair scientist, believing in a unifying theory helps me. I'm always looking for interesting ways that magic can be transferred, and interesting ways that people can become users of magic. I don't want just to fall into expected methodologies. If you look at a lot of fantasy—and this is what I did in Mistborn so it's certainly not bad; or if is, I'm part of the problem—a lot of magic is just something you're born with. You're born with this special power that is either genetic or placed upon you by fate, or something like that. In my books I want interesting and different ways of doing that. That's why in Warbreaker the magic is simply the ability to accumulate life force from other people, and anyone who does that becomes a practitioner of magic.

In The Way of Kings, I was looking for some sort of reservoir. Essentially, I wanted magical batteries, because I wanted to take this series toward developing a magical technology. The first book only hints at this, in some of the art and some of the things that are happening. There's a point where one character's fireplace gets replaced with a magical device that creates heat. And he's kind of sad, thinking something like, "I liked my hearth, but now I can touch this and it creates heat, which is still a good thing." But we're seeing the advent of this age, and therefore I wanted something that would work with a more mystical magic inside of a person and that could also form the basis for a mechanical magic. That was one aspect of it. Another big aspect is that I always like to have a visual representation, something in my magic to show that it's not all just happening abstractly but that you can see happen. I loved the imagery of glowing gemstones. When I wrote Mistborn I used Burning metals—metabolizing metals—because it's a natural process and it's an easy connection to make. Even though it's odd in some ways, it's natural in other ways; metabolizing food is how we all get our energy. The idea of a glowing object, illuminated and full of light, is a natural connection for the mind to make: This is a power source; this is a source of natural energy. And since I was working with the highstorms, I wanted some way that you could trap the energy of the storm and use it. The gemstones were an outgrowth of that.