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Ravi (paraphrased)

How old is Gaz?

Brandon Sanderson (paraphrased)

Early to mid 30s, so around Jasnah's age.

Questioner

Also, The Emperor's Soul, will we see Shai in future books?

Brandon Sanderson

You will see Shai in future books. *applause* I came up with a really good idea for a sequel for her, also. I don't know if and when I can write it, but there's a really solid idea I have for one, so, we'll see. But she'll make appearances, she is around.

Questioner

I just started Part 3 [of The Final Empire?] and I actually went over to your booth to ask them because I was confused. There are different symbols for the Allomantic metals but I only recognize one of them here. Why are there different symbols you don't know about at the beginning of different parts?

Brandon Sanderson

Part of it is they don't know all the metals yet, in the books, and so that's a hint. Part of it is because that their writing system is more than 16 letters and so there are symbols that do not represent a metal, necessarily, or an Allomantic metal so they can-- They write with them as well. It is both a writing system and each symbol is a metal.

Questioner

Kaladin is a lot younger than his knowledge and training levels are... *inaudible*

Brandon Sanderson

It just depends, he's led-- you have to keep two things in mind, he's led a very hard life, which aged him experience-wise differently, and also Roshar years are longer than ours, so when they say in this book [that] he's 19, he's not actually 19, he's more like-- I can't remember the exact equation, but he's actually 23, or something like that. So do keep that in mind.

Questioner

How do you write and teach? Don't you teach at BYU?

Brandon Sanderson

Yeah, but I teach one class, once a year, an evening class. It's just for fun.

Questioner

Writing's full-time?

Brandon Sanderson

Writing's full-time, yeah. I've been full-time writing since... I taught for, like, two years at BYU, and then went full-time writing.

The class I teach, I just have a blast with. I just have one class, and it is a lot of fun.

Eric Peters

You mentioned friday night in #Seattle Allomacy has "FTL" built into it, any more hints you can share on how that would work

Brandon Sanderson

It involves where the lost energy from thermodynamic issues goes in certain Allomantic interactions.

Questioner

You've developed so many worlds and so many magic systems, how do you keep them all straight?

Brandon Sanderson

How do I keep everything straight, all the worlds and all the magic systems? I use a wiki--

Questioner

You do your worlds all at once--

Brandon Sanderson

Nah I jump around-- I use a wiki. I use a personal wiki called WikidPad, you can't use it, it's only mine, and it's like 400,000 words at last count, which is about the length of Way of Kings. And I have now a continuity editor who goes in after I write a book and they put everything in. That's my method. But I am kind of scatterbrained, I will forget my keys, I'll go to the airport without my wallet and have to talk my way through security. But I don't forget stories. They stick up there.

Questioner

Two questions. First of all the twist where Wax shifts from-

Brandon Sanderson

One person to-

Questioner

Exactly. Was that preplanned? 

Brandon Sanderson

It was preplanned. That is based off of I have a good friend that when I first met them they were very very off putting because they are on the spectrum and I didn't understand people on the spectrum, and as I got to know them I understood how great they were, and I wanted to have the reader experience that same reversal in the books.

Questioner

So we know that you can't just have someone-- If someone were to do something similar to Hoid, he can't just pop and go "Oh look, I can now do Allomancy or I can now do Surgebinding". What about Breath? If someone could somebody get Breath-- Maybe not *audio obscured* Could they still get the benefits of--

Brandon Sanderson

Oh, good question... Yes you can, actually. Breath is-- Once it is given to you, it is being keyed to you. Your Identity. So that transfer makes it yours to use however you want.

Questioner

So you could Awaken?

Brandon Sanderson

You could Awaken. If you-- If you were to somehow make it there, you would be able to Awaken. It's the easiest of magic systems to get the magic from, and then to manipulate. Because it has keyed into it Identity.

Questioner

*audio obscured*

Brandon Sanderson

Yes, you can take Breath onto another world. In fact, you've seen characters do this.

Questioner

*audio obscured*

Brandon Sanderson

It would work, yes.

Questioner

*audio obscured*

Brandon Sanderson

Yes, it would work the same way.

The only magic that is location-dependent--  The ones who aren't interested in this, just hum to yourself, okay? *laughter* You don't need to know any of this stuff to enjoy the books, okay? I write them so that you could just-- each series can be read independently, and enjoyed. There is behind the scenes stuff, and if you want to dig, it goes pretty deep.

So on Sel, we have AonDor. AonDor is based on the fact that the Dor, which is an amalgamation of Dominion and Devotion, has been pressed together and stuffed into the Cognitive Realm by Odium who didn't want it to gain sentience, as Investiture will do if it is left alone. It will either seek someone to be its Vessel or it will gain sentience. He pressed it in there; he pressed it together, which creates the violent reaction, because those two intents are opposed. And that is the foundation of the magic. Because it's stuck in the Cognitive Realm rather than the Spiritual Realm (the Spiritual Realm is location-independent; Cognitive Realm is location-dependent), it makes the magic on Sel only work in close proximity to what is keyed through there to the location they're keyed to. This has to do with Identity and Connection. Mostly Connection. So that means you can't do AonDor on another planet, but you can do other magics works anywhere, because they're drawing the magics specifically through either the place, or they're end-neutral, like Breath is, and you don't need any extra power.

Brandon Sanderson

Siri Is Locked Up, and Her Guards Change

Just a quick reminder here of what's going on with Siri. I worry about her next few sequences looking too "damsel in distress." I tried to counteract this in several places, which I'll mention. Still, I had a problem here. Once things turn to combat and fighting, there is very little that Siri can do. She's not Vin—she can't approach things the same way.

However, since Elend got to play damsel in distress fairly often in the Mistborn books, I think I've earned the right to put a female protagonist into that role here. It's appropriate to the plot, and I don't think it could have worked any other way.

Brandon Sanderson

Siri Is Confronted by Blushweaver

This is one of those little scenes you put into a book that isn't foreshadowing anything specific. I don't mind if people home in on this confrontation and worry that Blushweaver will take action against Siri, but I don't go there with the book. Blushweaver here is just jealous. She knows enough to recognize that in herself, however, and won't let it push her much farther than her little warning here.

I like what this shows about Blushweaver's character, and I like that it illustrates how she sees Lightsong. Yes, she's in love with him. Quite deeply, in fact. She brought him into her plots and schemes here partially because she trusts him, and partially because she wanted to show off for him—and perhaps finally convince him to accept her as a lover.

Questioner

On the [star map, there are different systems.]

Brandon Sanderson

Yes.

Questioner

And there are constellations.

Brandon Sanderson

Yes.

Questioner

But who’s looking at these constellations?

Brandon Sanderson

So it is from a specific perspective, that Isaac will someday reveal. He drew this at my request; this is from a frame of reference. But we haven’t told you what it is. The best guess is that it’s Silverlight. I haven’t confirmed it, but it is the best guess. The second best guess is Yolen. There are a couple things that people have guessed, but I haven’t confirmed which it is.

luminos

What are the chances that you will eventually write a fifth Alcatraz book?

Does Alcatraz ever actually end up tied to a stack of encyclopedias, about to be sacrificed by evil librarians?

Brandon Sanderson

I bought the rights to the Alcatraz series back from Scholastic earlier this year, and they were given a 'sell-off' period to sell the rest of their stock. I now own the rights again free and clear, and will probably be putting out an omnibus ebook. (Perhaps a print one with Tor as well.)

I can now write the fifth book (which Scholastic did not want.) It was always planned as the book where he ends up on that stack of encyclopedias. I'll do this sometime next year, hopefully.

Brandon Sanderson

World Map

The world map for Roshar changed dramatically between various iterations of the book.

Work on this novel started when I was fifteen. Back then, most of the plots and characters were combined with another world of mine, called Yolen. (That's where the book Dragonsteel takes place.) Somewhere in my early 20s, after I had a whole lot more experience and knew (kind of) what I was doing, I realized that the plots I had going in this world didn't click well together, so I divided the books into two separate series.

I wrote Dragonsteel first, back in 1999 or 2000. (Although Dragonsteel was the third book I wrote in the cosmere—after White Sand and Elantris—it was meant to be the chronological origin of the sequence. Hoid was one of the main characters of that series. The first book even includes significant viewpoints from him.)

I started outlining The Way of Kings fairly soon after. That original map I imagined as a continent with three prongs facing downward, with a connection at the top. There was the Alethi prong in the center, Shinovar to the west, and a long prong with Natanatan on the east.

Over the years, my worldbuilding skills grew. And part of that growth was realizing that the map I'd designed didn't work well for the story I wanted to tell. I wanted something better, and I changed designs.

I gave Isaac the outline of this world that became Roshar. (Based on an iteration of a Julia set, though for a while I played around with making the whole continent a cymatic shape.) That didn't happen for Mistborn, where I basically just told him, "Make the world map as you wish, with these guidelines." Mistborn, I knew, was going to happen basically in a couple of cities.

The Way of Kings was going to be huge, and I wanted scope for the project. That meant a big, epic map. I'm very pleased with Isaac's work here. Do note that this is a southern hemisphere continent, with the equator up north.

Brandon Sanderson

Movie/Television Updates

So, let's talk about movies.

People tend to get really excited about news of my books being adapted—and rightly so. I'd be very excited to someday see one of my properties turn into a film, and I think it's inevitable that some day, we'll see it happen. However, the process of a book becoming a film or television show is a long one, involving the input of a lot of people. And fans tend to get very excited when something is being developed, but often don't realize that the stages of development can often take a long time.

I thought it might be helpful here to go over what some of those steps are, so you can get a better idea of how far along my various properties are. Understand that this is a rough guide, and individual properties might follow a different route. This is also kind of an outsider's take on it all, as I don't consider myself an expert in Hollywood. Those who know more about the ins and outs of the business would probably consider this a gross over-simplification.

Step One: Producers Option a Story

In Hollywood terms an "option" is kind of like a rental agreement. The most common way a story starts on its path to an adaptation is with an option. (Sometimes, there's even a step before this called a Shopping Agreement.) Basically, someone (usually a producer, but sometimes a studio) comes in and offers to pay an author every year to "option" their work, meaning the producer/studio gets exclusive rights to make a film on that work. They don't buy the rights completely, however. Usually, they set a buyout price, then pay 5/10% of that price every year or so to keep the option locked up. This gives them time to put all the other pieces together for a film without needing to commit to paying the full buyout price until they're certain the film is going to happen.

My agent once told me that about 1 out of 30 of the properties he saw get optioned eventually got made into a film or show. An option is absolutely an important step, but a lot of times fans see an option agreement in place and start expecting a film any day—when really, this is just the first exploratory step in the process. Sometimes, producers even option rights they never intend on making into films. (I once had a producer brag to me that he—in order to make sure nobody in town was trying to sell something similar to his property—had bought up all rights to similar books for cheap, with the intention of sitting on them for five years to make sure he didn't have any competition. I was not impressed, to say the least.)

Step Two: Screenplay

Usually, after the option agreement is signed, a screenplay is commissioned for a film. For a television show, it will either be a screenplay for a pilot, or some kind of series bible or "treatment," a kind of outline that talks about the process the group would use in adapting the property.

This screenplay, treatment, or bible is what the producers will take around town to try to get studios, directors, and actors interested in a property. A book being successful is interesting to Hollywood, but what they rightly want to see is if that book can be made into a workable screenplay. Often, this process takes years, as a screenplay/teleplay will be commissioned—then go through several rewrites. Sometimes, the producers will decide to hire a second or even third screenwriter to do a pass on the script, if they decide it needs another take or specific revisions.

Step Three: Studio Interest

With screenplay in hand, the producers will approach the studios or larger production companies. (Or sometimes content distributors, like Netflix.) The goal here is to get interest from parties with deep pockets and the power to actually make a film. This step can occasionally be skipped if a studio was involved from the beginning. (This has happened with several of my properties.) Sometimes, the studio might be interested—but send the producers back to step three to do more revisions before offering any kind of official deal or promise of distribution. Sometimes, the producers will need to secure promises from multiple parties—like, for instance, they might get a smaller studio in the US interested, then have to get a foreign partner interested to provide funding for overseas distribution promises.

Step Four: Attaching Talent

With a screenplay in hand and the backing of a studio or similar group, the producers can now try to get a director or actor on board with the film. This crucial step will have a big influence on how/if the film will get made. Obviously, if you get a major director interested, that makes the studios sit up and take notice. Likewise if a major actor attaches to the project. For television, this often involves getting an established show runner attached. (In my experience, with television, sometimes this sort of thing happens in Step Two instead—with the showrunner being involved in the pitch documents. In that case, Step Three is the big one: getting someone big in the business to fund a pilot.)

Step Five: Actual Green Light

Finally, if all the pieces come together, you get what is called a green light. The film is scheduled for shooting, the studio commits a large chunk of money to the project, and people start getting hired. This is when the option actually gets exercised, and the author gets the payment for the contract they likely signed years and years ago. Once in a while, a group of producers will decide that the property they hold is big enough that (once their option period runs out) they decide to pay the buyout price to get more time to try to get the film made. Sometimes, instead, they'll just agree with the author to extend the option period for another payment.

Step Six: Film Gets Made

I've never gotten here, but I hear it's a lovely experience.

So, with that in mind, I can tell you where each of my properties are. Unfortunately, I won't be able to name a lot of names. For instance, if a director is interested but hasn't signed on officially, it's not my place to announce them as being involved. Likewise, if some producers have offered to option something, but we don't have signed paperwork, it's generally best if I stay quiet about the details so that they can do publicity on the deal in the way they would like.

Questioner

If a coppermind was to be split in half, would the contents of it be destroyed? Or would there be, in the two separate halves, <of different contents?>?

Brandon Sanderson

You should err on the side of being destroyed, though not permanently, is what I would say on that. There are ways to approach it that wouldn't, but generally if you're ruining a metalmind, the Investiture will stay in it, and if you know what you're doing you can make use of that, but in most cases, it's not gonna fare well.

Questioner

I was in the hospital and someone read White Sand [Volume 1] while I was there, and I didn't know-- Is the comic series going to continue on after the end of the book, that kind of seems like a very unfinished story, or if that's just a story that will probably remain unfinished?

Brandon Sanderson

If people really like the comic we will continue.

Questioner

Oh cool!

Brandon Sanderson

If they don't, I am probably going to do a book in the world eventually. It will be after the last-- like-- a different group of characters, but it will reference what happened, so you can kind of figure it out.

Zas678

Pattern doesn't have vocal cords, and yet he makes sounds in the Physical Realm. Is this due to Realmatics of him projecting into the Cognitive Realm and connecting that way, or does he make physical sound?

Brandon Sanderson

He makes physical sound.

Questioner 2

So the vibrations that he makes?

Brandon Sanderson

You could record the vibrations that Pattern and Syl...You could record the patterns that these spren make on a recording device.

Questioner

So, you have this [Mistborn] trilogy, and then you have the trilogy coming after, and then--

Brandon Sanderson

Another trilogy.

Questioner

Another trilogy. Is there any sort of date or time?

Brandon Sanderson

No. The Wax & Wayne books will finish very soon. I'm working on the last one of those. So those two will be complete. Then it might be a little before I jump to a 1980s level.

Brandon Sanderson

This is my third and final essay tying in with the release of my new book, Legion: The Many Lives of Stephen Leeds. The book has been released for about a week now, and I hope you've all had a chance to check it out. This story is something special to me, particularly the third part—which might be the most personal story I've ever written.

But how did it start? The Legion stories seem, at first glance, very self-referential. They are about a man who hallucinates a wide variety of characters—but unlike many protagonists of his ilk, Stephen knows that his hallucinations aren't real, and doesn't (for most of the stories) resist the fact that he is like this. Instead, he uses this ability to help him, acting like a one-man team of experts.

The parallels are obvious. Stephen is very much like me, in that he imagines a large cast of people who accompany him. It's quite the metaphor for being a writer, though when I was working on the first story, I didn't really see this connection. I just wanted to see if I could change something that is often portrayed in film as a huge liability into (instead) a huge advantage.

The original cast of hallucinations—specifically JC, Ivy, and Tobias—were based on actors. This is rare for me, as I don't often "cast" my characters in stories. But to me, it felt like Stephen would have used people he'd seen in film as a jumping-off point to create these personas, much as many of my characters have their roots in the pop culture I consumed when young. Ivy, then, looks roughly like Gwyneth Paltrow, Tobias like Morgan Freeman, and J.C. like Adam Baldwin—with the name J.C. being a reference to the fact that he's played multiple characters with those initials.

But, like any characters I create, these were just jumping-off points, used to spin me into unique characterizations. JC went into this fun mix of self-aware, playing up his quirks, while Ivy became a representation of the fight within Stephen between cynicism and sincerity.

The more I wrote, the more this became a metaphor for the complex relationship between a writer and the characters in their head. The voices that they know aren't real—but still depend on convincing readers to buy as real people. The stories deal with mental illness, yes, but the further I wrote, the more Stephen became a stand-in for the way our perceptions—and our hopes—shape the world we perceive. And maybe for the crisis that can be caused when we realize there's a misalignment between the two.

Going back to the points I made in the first essay, however, it isn't that I was trying to express anything specific by writing these stories. And yet, by the end of the third one, I had indeed expressed something that was deeply personal—and real in ways that it is still strange to me that a piece of fiction can reach.

But that's the point of stories, or at least one of them. A medium through which we can all connect in ways that we never could solely by explaining ourselves. Because art reaches inside us, and expresses aspects of ourselves that aren't deliberate, there's a truth and genuineness to it. A raw sincerity that isn't always about which part of the three-act structure you're crossing right now, or which part of a character arc this event is fulfilling. Those are important to give us a framework. But it is not itself the art.

The structure is the skeleton, but the art is the eyes. The part you can see into and feel it looking back at you. The part that somehow—despite my best attempts to quantify it—is a soul that lives on its own, and defies explanation.

Questioner

When is Dragonsteel coming out? 

Brandon Sanderson

Dragonsteel is a looong way off. I have to finish Stormlight, and the next Mistborn trilogy after this one first. 

Questioner

You have two characters, Hoid and Vasher, who really stand out even if you don’t know anything about the cosmere. Are people who aren’t cosmere-aware going to be left wondering what the heck is up with them?

Brandon Sanderson

Yeah, probably. But it’s okay to have some mystery, I figure, as long as I don’t let the cosmere stories really distract. If there are occasionally things where you think, “That was weird, I don’t get that” or “That guy’s kind of different.” That’s fine. It’s when you start to feel like everyone else is laughing at a joke you don’t know, when you’re not part of something and you can’t understand the piece of fiction because of it, then we’re in trouble. Unless it’s a side story. Like Mistborn: Secret History, you’ve got to know the cosmere to get most of that, and that’s okay. But the main line books I will write in such a way that… So the Stormlight Archive is the story of Roshar. It’s not necessarily the story of all the different elements influencing Roshar. Maybe someday I’ll do one that has that, but I’ll be very up-front about it.

Questioner

I was curious what the-- or if you had an inspiration for the scene with Vin and Elend going to his father's camp and the talk about acceptance?

Brandon Sanderson

Yeah a lot of these con-- these stories-- If you didn't hear it, there's a scene where Vin and Elend in Words of Radiance go to visit-- *crowd murmurs* not Words of Radiance *laughter* Well of Ascension! They both start with a "W" I'm running out of letters to start books with. Yeah it's a good problem. So they go to talk to Straff and there's a lot of discussion about acceptance and just kind of things I was thinking about at the time and think about a lot. One of the things is "I hope people enjoy this, if not you're just going to have to deal with it." I work out what I'm thinking about life through the voices of my characters. And it's something I really look for in books as well, I do want a little philosophy with my fantasy. And, y'know, it's not that I'm trying to answer those questions, but I'm working on them. And the characters, because they have a different perspective from myself--because the characters don't voice what I think, they voice what they think about something I'm thinking about--and that really kind of helps me think about it and talk through it. And it's one of the reasons I write books, besides doing awesome stuff.

Questioner (paraphrased)

Was Elantris intended to be a zombie story?

Brandon Sanderson (paraphrased)

Yes, but he disguised it so that it would not be typecast as a horror story by potential readers. He wanted to do a story about heroic zombies, since he had never heard of such a tale.

Questioner

What is your favorite relationship between two characters?

Brandon Sanderson

Favorite relationship? Oh boy... Adolin and Kaladin. That was a lot of fun to write, because they're such different people, but they're really good for one another.

Swamp-Spirit

Shallan's Memory ability to capture an image doesn't seem to be working exactly like an eidetic memory...

Brandon Sanderson

Yes.

Swamp-Spirit

...because she can erase it by drawing. Is that tied directly to the magic of Lightweaving? And if so would other creative Lightweavers have similar abilities.

Brandon Sanderson

If you look at the epigraphs there is a big hint on this, where it talks about it and yes... I have problems with eidetic memory, just because scientifically most scientists say this is not a real thing. So I would say that whenever-- Because of my knowledge of the science of it understand that you would need some sort of magical enhancement to be able to do what she does.

Brandon Sanderson

Chapter Forty-One

Vivenna, Sick and Disoriented, Gets Turned Away by the Restaurant Keeper

One of the ways I decided to make Vivenna's sections here work better was by enhancing the fuzziness of her mind. By giving her this sense of numbness, I hope to indicate that something is not right with her.

It's common for someone who suddenly becomes a Drab to get sick almost immediately. For a time, her immune system was magically enhanced and warded, in a way, to keep her from becoming ill. With that removed suddenly, sickness can strike. She hasn't built up immunities to the sicknesses going around, and by becoming a Drab, her immune system suddenly works far worse than that of other people.

These things combined made her come down with something pretty nasty the very day she put away her Breath. This would have killed her, eventually, if she hadn't done something about it. She would have grown so dizzy and confused that she wouldn't have even been able to walk.

By sending men to find her, Denth saved her life.

Anyway, I feel that these scenes work much better now. We can look at Vivenna's time on the streets in the same surreal sense that she does. They happened in the past, in a strange dream state. In that way, they can seem much longer than just two chapters and a couple of weeks.

Questioner (paraphrased)

Why did Adolin kill Sadeas?

Brandon Sanderson (paraphrased)

He's young and hotheaded unlike Dalinar.

Brandon Sanderson

I was reading the comment section to one of my previous updates, and someone had been a little confused about how I was writing this book. They're like, "Wait, so the entire last third of the book is all Sanderlanche?" Not quite. So, in order to explain it to you, how Wax and Wayne is progressing, this is a mostly spoiler-free visual aid that I have created for you. This is not how it will actually be published; this is how I have been writing it.

We're gonna start at the bottom here. Part One of the book, which was roughly... The whole book is gonna be 150,000 words; Part One was roughly 30,000 words of that. I write two separate narratives with two characters each. And I wrote those together; I just alternated chapters between the four characters. (The four characters for this book being Wax, Wayne, Marasi, and Steris. And some of those characters get more viewpoints than others; Steris gets fewer viewpoints, generally, than the others.) But the idea is that I kind of just wrote them all together, but they were in two separate storylines.

That then, as we hit Part Two, I brought everybody together and did it as one big narrative of four different characters, and I was alternating between them. And then I wrote this through.

And then I hit a point in the middle of the book, right about at the central point (right around 75,000 words) where I realized I was splitting the characters up again, and I wanted to go and write each narrative on its own for a while. What this gets me is: writing-wise, this is where we are, right here [in Part Three]. This is where I've taken the character groupings: one character's off by themselves, two characters are together, and one character's got a short little bit of viewpoints. (That's Steris, who's got a few viewpoints off in a third location.)

And what's going on here is, it's much easier for to take the book and to write, for instance, all of this [one character, 30K-ish words] because this character is split off from the others and just really drill into this character's character arc and narrative arc. And then, it gets to the end and I get to have a climax section that will be at the end of the book.

Then, I'll actually go write Steris next, which has a little mini-climactic chapter of her arc.

And then I'll write these characters right here [two characters, 40K-ish words], which is where I'll end. I will write that all the way through to the climax of their character arcs and narrative arc.

And then I will weave these all together. This, like I said, gets me some advantages. One is that I get to write the ending, essentially, from three different perspectives three different times, and I really like writing endings. This just makes it more engaging to me as an author. It is less oppressive for me to keep all of this stuff... like, if I were jumping between these three different narratives, it would be much more difficult to keep a tight focus on what's happening with them. This [Part Three] is how I write Stormlight books. This [Parts One and Two] is how I write Skyward books and things like that that have fewer narratives. So this book is half like one of those and half like a Stormlight book in the way I'm approaching just structurally creating the thing.

What the disadvantage of this is is that the pacing really needs to really be looked at in that part when I then interweave all these viewpoints. Because you'll read them; they won't be split up in chunks. You will read them interwoven, where it's jumping between the different narrative plotlines. And the issue there is, I will naturally create a narrative, for instance, for this character [one character, 30K-ish words] that has its own stops and starts and slowdowns and scenes and sequels, as we sometimes talk about in writing terms. And I'll do the same thing for this one [two characters, 40K-ish words]. And then I' have to weave these together in a way that the pacing feels right. And this is a lot of what the 2.0 revision of a book like this is about, is making sure that it just feels right as you're going through these, jumping between viewpoints and what-not.

I have just actually finished this part [one character, 30K-ish words]. I wrote the climactic moments of this sequence this week. I'm actually gonna write Steris next, and so that'll be 10K. And then I will do the last portion for the last month that I'll be working on this. We'll see if it goes long or if it goes short. The first viewpoint group ended up being just right smack where I expected it. I am pretty good these days at guessing how many words a given plot arc that I'm planning will take. For instance, Steris's might take a little less than 10K.

Questioner

How do you keep your magic systems straight?

Brandon Sanderson

You know, I've never had trouble with that. I forget my keys, I forget where I put my wallet, but I don't forget stories. I get the stories right.

Questioner

In Oathbringer, you kinda have themes of mental illness, right? Is that intentional?

Brandon Sanderson

Yes. It is intentional.

Questioner

How come you decided for...

Brandon Sanderson

Because several of the characters that I was dealing with had mental illnesses, and I let theme develop out of what the characters are interested in, what their conflicts are, and who they are. These themes kind of grow out of character.

Questioner

Are you planning on doing a sixth Alcatraz?

Brandon Sanderson

Yes, from Bastille's viewpoint. She is currently writing it. We are just waiting for her to finish. That shouldn't be too long.

And things aren't as bad as Alcatraz made them seem. He's a little melodramatic, if you can't tell.

Questioner

So, what happened to Shallan's family? As in--her brothers--the things that happened to Shallan's family, is that related to the black sphere from Gavilar that Szeth hid in Jah Keved?

Brandon Sanderson

It's vaguely related but not specifically.

BimGab

Why are so many of your primary female characters named with "s" and "v"? Sarene, Siri, Shai, Shallan, Vin, Vivenna? Is there a reason?

(I ask because you're obviously able to find cool female-names with other letters too, Jasnah, Danlan, Navani and so on.)

Brandon Sanderson

No reason. I've noticed that trend myself; probably something to do with innate "this sounds right" things on my part. I think Vin/Vivenna is a coincidence. (Vin did start in a rough first draft as male, after all.) But there are also some other V names, a disproportionate number. So...just the way my ears work, and something I need to be aware of, I guess. Thanks for the question!

Questioner

At the beginning of Stormlight, when Gavilar gives Szeth a dark sphere, is that from Shadesmar?

Brandon Sanderson

RAFO.

Questioner

Is Nazh a cartographer?

Brandon Sanderson

Nazh. So Nazh knows enough that he-- Like he knows more than the average person, but I would not call him a cartographer. I would describe him... as a grumpy, cosmere James Bond. Not nearly as cool, but it's the same sort of thing. "Here's the mission. You need to do this. Get in. Infiltrate. Get this thing." Right?

Questioner

Is Kelsier going to appear again?

Brandon Sanderson

It is very likely.

Questioner

So I can expect this?

Brandon Sanderson

Yes, you can.

Questioner

Sazed is my absolute favorite character in any book now. I love the way he talks and his passion for religion. I think that’s really really cool. (interrupted)

Brandon Sanderson

How did I come up with Sazed? Is that where you’re going?

Questioner

Yeah, and the religion thing, because you have so many. Did you study religion?

Brandon Sanderson

I do study it. I do a lot of studying religion. It fascinates me. I’m religious, I want to know what people find sacred. The origin of the idea for Sazed was the idea of a missionary for all religions. I can actually point at the moment, though, but it comes from a goofy movie.

Questioner

What goofy movie?

Brandon Sanderson

The goofy movie is the original Mummy with Brendan Fraser. There’s a moment where the dumb guy tries holding up a religious symbol and talking and nothing happens, so he pulls up a different one and he pulls out a different one. That moment actually spawned the, “What if that were serious? What if there was somebody who tried to match a religion to the individual?”. That spun me into Sazed, the whole concept of Sazed. You can trace the origins of this deep and important character to the dopey, evil sidekick in a Brendan Fraser movie.

Questioner

I know Hemalurgy [has to go to mix and match powers], would it be possible to use Feruchemy for Connection to hack into multiple Knights Radiant, kind of act as a Squire to more than one at the same time.

Brandon Sanderson

Great question! I think you could make this work. I think it would take a little bit of legwork, but I think what you're wanting to do could indeed work. More likely in that case though, you could probably be a Squire to multiple Orders. *Hesitantly* Yeah...I think that would work, but I don't think it's the easiest way to do what you want to do. I think there are easier ways.

Brandon Sanderson

They Discuss Religion

In my books, one of the things I prefer to do is have characters who voice opinions opposite to my own. I figure that my own feelings and beliefs will work themselves naturally into the text, and so there are probably a disproportionate number of characters in my books who see the world as I do. So, any time that I can add a strong character with beliefs that oppose mine, I feel that it gives the novel more credibility.

In this case, I think Tindwyl has a very strong argument against religion, particularly considering the world in which she lives. Prophecies—the staple of fantasy literature—are silly, if you really look at them. What's the point? I like that she offers some strong arguments against religion in this section because it not only fits her character, but gives context to what she and Sazed are doing.

Both Tindwyl and Sazed, by the way, use the same speech patterns. Kwaan does too, as did the Lord Ruler and Alendi. It's very subtle, but it's there—in my mind, at least. In this series, you can tell who is Terris by looking at the way they construct their sentences.

mithrilnova

Does the positioning of a Hemalurgic spike matter on the donor, the recipient, or both?

Brandon Sanderson

Recipient.

Steeldancer

In Oathbringer, my one big issue with Oathbringer was Amaram's turn. I'm curious why you chose to not hint more at his turn. It felt a little bit out of nowhere. What were your thoughts on Amaram?

Brandon Sanderson

Which turn are you talking about?

Steeldancer

When he turns to Odium's side and he's like, "Okay, now I'm going to consume an Unmade."

Brandon Sanderson

I feel like Amaram was a slow and steady descent. But you didn't get to see viewpoints from him as he was doing it. And what he did to Kaladin was worse than anything he did in Oathbringer, in my mind.

Steeldancer

Why did you choose not to give him viewpoints.

Brandon Sanderson

Too many characters. To many people to give viewpoints to. It was kicked around. I kicked it around for a while. There just wasn't enough.

Questioner

As of the current Wax and Wayne book [The Bands of Mourning] have we seen any Shards that have been Splintered that have recombined?

Brandon Sanderson

Have you seen any?  No you have not.  Good question.

dunemafia

A small question, if you don't mind, how do you come up with fantasy names? I mean, is there an onomatology you draw from?

Brandon Sanderson

It varies from book to book--really from series to series. Generally, there are three general ideas. The first is the hard way--building the linguistics from the ground up. I'm not the best at this, but I can hold my own when I really want to. The second is easier--picking a linguistic trick (like names with repeated vowel sounds or names that are symmetrical, both ideas I've used) and using those as markers that a certain name is from a certain culture. The last is the easiest, which is picking an Earth culture and making names that feel like they could fit. I generally do this in books where language barriers aren't going to be relevant to the characters, and I want to shortcut the linguistics to use my worldbuilding time other places.

Questioner

*Inaudible, presumably about inspiration for Allomancy.*

Brandon Sanderson

For Mistborn, more alchemy. I am fascinated by the fact that Isaac Newton believed in it. Just the transition period between superstition and science is a fascinating period.

Questioner

What was your inspiration for Wit, or who?

Brandon Sanderson

Hmm. You know, the closest thing I've been able to say is the court jester from King Lear, he's one of my favorite literary characters. But I'm not sure if I can, you know, if I can point to anyone specific other than that.

Brandon Sanderson

The first wind is in the Mountains of Mist; I've always assumed this was a nod to Tolkien's Misty Mountains.

Brandon Sanderson

Look in The Way of Kings on the full map of Roshar for something similar.

Questioner (paraphrased)

Have we seen Cultivation's magic?

Brandon Sanderson (paraphrased)

Yes.

Questioner

What's your favorite epic?

Brandon Sanderson

No one's ever asked me that before. I would say Limelight is my favorite epic.

Brandon Sanderson

Hoid was a Dawnshard at some point in the deep past, and the reason he (even still) cannot physically harm people, or even eat meat, is related to the changes this made to his spirit. (Consider this the same fundamental principle as savanthood.) The few of you who have read Dragonsteel know that him being a Dawnshard was also the source of his immortality in that book, though the terms were different back then. (The word Dawnshard was never mentioned, for example--though the primary story of Dragonsteel (which is no longer canon) was about several people who unwittingly become Dawnshards.)

And a preemptive RAFO to all questions on this point. :)