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Questioner

Alcatraz?

Brandon Sanderson

Alcatraz 5. When am I going to write Alcatraz 5? I have a few things on my plate but I do want to finish it. I have re-releases of the series coming out next year probably. We sold the series to Tor, I bought it back from Scholastic. We are repackaging them with new covers and we are hiring an illustrator to illustrate them, to have cool illustrations all through the book. It looks like we'll do 25-30, little half-pagers and things like that through the book. We're doing a map, Isaac is commissioning a very nice map. And then we are going to re-release them and so I will try to have Book 5 come out when we have that going.

Rebecca Lovatt

You've done a lot of books; you've been writing for a long time. At this point in your career does it feel like more like a work job than play?

Brandon Sanderson

No. Telling the story still gives me the same feeling. You have to remember that by the time I broke in, I'd been doing this for ten years already. I've been doing it another ten now, so the breaking-in point was only the halfway point so far in my career. I still do what I used to do, which is jump to wacky new stories as they occur to me.

I think when you should start to worry is when I stop doing that--when I stop coming up with some weird thing that I have to do instead of writing the next book, or when I decide I'm going to write two Mistborn books because I have some great idea for the second one. When I stop doing things like that, worry. So if you start getting Stormlight books only--as you all want--that's when we are actually in trouble.

Rebecca Lovatt

Or if you go to a convention and don't play Magic.

Brandon Sanderson

Yeah, if I don't play Magic, that would be bad!

Rebecca Lovatt

I think everyone would just be truly concerned.

Brandon Sanderson

That is my reward for coming and doing publicity and things like that at the convention: I get to go play Magic.

Rebecca Lovatt

I remember when you were at Polaris, we left a bunch of Magic cards on your hotel bed as your welcoming gift.

Brandon Sanderson

That was one of the best gifts I've ever received.

Rebecca Lovatt

I'm glad you liked it.

fletchershair (paraphrased)

Out of all your characters, who would you most want to be like, personality-wise?

Brandon Sanderson (paraphrased)

Dalinar.

Questioner

In terms of timeline for Mistborn: Secret History and Elantris.  Is there a chance that the characters in Secret History would know the characters from Elantris or are they way far apart...?

Brandon Sanderson

I haven’t really dug into those outlines yet but it’s not impossible.  In fact it’s very possible--  It’s possible for some of the characters in Secret History to have met people from Elantris. That is possible, but some of the people in Secret History are very abnormal, so that's not necessarily to say--

Brandon Sanderson

Some of Blushweaver's sparring here should give you a hint that she's far from the shallow egotist she pretends to be. In a lot of ways, she and Lightsong are perfectly matched, and I imagine this being the reason they ended up spending so much time together. They both have an extreme persona that is almost a parody of the other gods, and for both of them, that persona is but a sliver of who they really are. Blushweaver is more conniving, Lightsong more noble, when you strip everything else away. But they understand each other in a way that I think few people do.

Questioner

If someone had a Hemalurgic spike and they burned aluminum, would the negation of-- am I going to get RAFO'd?

Brandon Sanderson

You're asking if it would destroy the Hemalurgic power? Burning aluminum at that point would not destroy the Hemalurgic power. It would pull the Investiture through whatever you're doing. It would blank your power, but it wouldn't destroy you being an Allomancer with the spike...

I actually considered this in building it and that would be too easy a way to remove Inquisitors, particularly if there were dissension between them.

Questioner

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

Brandon Sanderson

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

Questioner

Do you ever feel like, as the author of these stories, you are basically the God of these books?

Brandon Sanderson

Yeah. It feels-- Honestly, I would look at it more-- The better way I feel is more like the historian. I've constructed the story in the outline, and now as the historian I'm writing it out and recording it. Because it's already kind of happened to me as the outline doing it. So I feel more like that. Like, I'm gonna do what the story demands. I'm not sitting there playing God, like, "I'm doing this to you!" I'm like, "This is what the right story is, and I'm going to write it."

Questioner

When you have to make changes, do you ever feel like you're betraying something in your story, when you have to make a change that maybe you weren't planning on?

Brandon Sanderson

No, it's the other way around. I never have made a change I haven't been comfortable with. It's only if I feel a story's gonna be stronger and it's better for the characters. A revision is more like an exploration of "Something was wrong in this, I did it wrong the first way. I'm gonna try to nudge it toward the way it should be." And when I can't do that, that's when I have to pull the book, because I can't figure out what it should be, if that makes any sense. It's kind of nebulous. But I'm trying to get it closer and closer to the perfect version of the story I'm trying to tell.

Brandon Sanderson

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

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

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

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

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

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

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

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

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

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

Brandon Sanderson

My Year

January-March: Skyward and Legion Revisions

I kicked off the year quickly doing a second draft of Skyward. Pulling The Apocalypse Guard from the publisher, then promising them Skyward to publish in the fall of 2018, meant that I had to scramble. It wouldn't do to pull a book I judged to be of inferior quality, only to replace it with a book that I didn't have time to revise up to my standards. So you'll see a number of months dedicated to Skyward. (Which, if you somehow missed it, did come out—and is still sitting quite happily on the New York Times bestseller list many weeks later, so thank you all very much!)

Another thing I'd been putting off for months was the necessary revisions of the third Legion story. Tor was quite patient with me on this one, considering the Legion collection was scheduled for publication in the fall as well. But during these three months, I did multiple revisions of both books, eventually getting Legion into a polished state. (There was one more draft of Skyward still to do.) Legion Three, Lies of the Beholder, can be found in the Legion collection that was published earlier this year.

Finally, somewhere in here, I squeezed in an outline and world guide for Death Without Pizza. (Yes, that's a name change—no it's not the final name, but just a placeholder.) More on that later.

April: Children of the Nameless

Sometime around March of last year, Wizards of the Coast sent me an exploratory email. It being the 25th anniversary of their card game, they were wondering if I'd be interested in doing a story with them. As most of you know, I'm quite the fan of Magic: The Gathering. It's my primary hobby, and I have way too many cards. (Which still aren't enough, of course.) I was enthusiastic, and you can read more about the process I used to approach the story in this blog post.

I knew that by doing so, and by writing the story as long as it ended up, it would make getting to some of my other projects later in the year more difficult. (Namely, the fourth Wax and Wayne book, which I'll talk about shortly.) But this was kind of something I had to do, so I ask your forgiveness in taking this detour to Innistrad. I'm exceptionally pleased with the story and the response it has gotten, so if you haven't read it, I present it to you here! Reading it requires no prior knowledge of the card came or the lore surrounding it.

May: Skyward Final Draft

How long it takes to write a story depends on a lot of factors, but in general, three months gets me around 100k words. Shorter stories, with fewer viewpoints, tend to be faster—while longer stories with more intricate plotlines (like Stormlight) tend to take longer. But that's just for the rough draft. Generally, doing all the other drafts takes an equivalent amount of time to the first draft. (So, if the first draft takes three months, the second through fourth drafts will together take another three months.) You can see this at play in Skyward, which took about three months to write in the end of 2017, then took three additional months of revision to polish up.

I did sneak in a little time to do an outline for a piece called The Original in here as well, which took about a week. I'll update you on that in the secondary projects section.

June–August: Starsight First Draft

And, speaking of three month first drafts, here we get me buckling down and doing the sequel to Skyward. It's finished in its first draft form, and dominated my summer. In here, I also did detailed outlines for the third and fourth books of the series. (And this is where I determined for certain that the series would need to be four books instead of three.)

September–October: Odds and Ends

In these months I had some travel to record episodes of Writing Excuses, I did a quick second draft of Starsight to send to my publisher, and I did some revisions to Children of the Nameless. I also did more work on The Original, Death Without Pizza, and Alcatraz Six (AKA Bastille vs. the Evil Librarians, or Alcatraz vs. His Own Dumb Self). Finally, I slipped in some brainstorming with Dan Wells on how to fix The Apocalypse Guard.

Basically, I knew that November would be mostly lost to touring, and I was scrambling to get some work done on small projects to clear my plate for 2019, which will be dedicated to working on Stormlight Four.

November: Skyward Tour

I spent most of November on tour for Skyward, and quickly finishing up final revisions on Children of the Nameless. I got to see a lot of you while touring for the book, and had a blast—but these tours get more and more difficult as the lines get longer and longer. The tour for Stormlight Four in 2020 might require me to do some things I've been dreading, such as limit the lines to a certain number of tickets. It makes me sad to contemplate, but I'll keep you all in the loop about what we decide to do.

December: Death Without Pizza

I needed a break from all the other things I've been doing, so in classic Brandon style, I worked on something fresh and new to give myself a breather. This was where I was going to do Wax and Wayne Four, but doing Children of the Nameless meant that instead of three months extra space at the end of the year, I only had one month. (As CotN had taken one month to write, and one month to revise.) I had the choice of pushing back the start of Stormlight Four, or doing something else for this month and trying to sneak in W&W 4 sometime next year. I chose the latter. It's important to me that I let myself do side projects to refresh myself—but I also think it's important to keep to my Stormlight schedule. It would be too easy to keep putting off the big books until they stretch to years in the making. I told myself I was going to divide my time in half between Stormlight and other projects.

The truth is, I'm getting really anxious about getting back to Stormlight. That's a very good sign, as once I finish a Stormlight book, I'm usually feeling quite burned out on the setting, and need a number of months to recover.

TheVanillaRogue

You mentioned having to pull in plot from the future books for Rhythm of War, because it was originally going to have more flashbacks. What sorts of things got moved up?

Brandon Sanderson

Let's see... what was I thinking of when I said that? So, there's been so much rejiggering. The Kaladin scene I mentioned [Kaladin jumping off the tower to save his father] was originally in the third book when I outlined it. It was not in the fourth book. It didn't fit the third book, and it's much better here. That old outline... I'd have to think about what did I actually... I'm sure I was thinking of something, a plot thread that I pulled in while I was doing it. But I don't know what it necessarily was. 

It was not the Taravangian stuff; that was planned for this book all along. I don't remember what it was. I'm sorry. This is just me; I'm sure I was working on a scene where I'm like, "Oh yeah, I'd planned to do that later, and now I'm doing it here."

I have no idea what it was. I'm sorry. 

ReaderAt2046

Does chocolate exist in the cosmere?

Brandon Sanderson

Yes. Not on Roshar, though.

Questioner 1

Have we met Jezrien yet, in the books?

Brandon Sanderson

What's that?

Questioner 1

Have we met the king of the Heralds in the books yet?

Brandon Sanderson

Uh, yes you have.

Questioner 2

And it's not Zahel.

Brandon Sanderson

No. I-- Fans have picked out who he is. It-- he's moderately obvious. So the-- so he's not supposed to be a big secret. But I will pop him out a little bit more in the third book, so if you don't want to get spoilers you can wait til then.

Questioner

Since Hoid is the Horneater god, are there, or at least implied, would other Shards--

Brandon Sanderson

Hoid is not a Shard.

Questioner

Or other Shards that are related to Hoid, since they are in the same time period. Would they also be Horneater gods?

Brandon Sanderson

I think that the Horneaters might interpret things very differently from their reality, as they are viewing certain things happening--

Questioner

So would they originally be from Roshar, or would they have travelled from somewhere else?

Brandon Sanderson

That's a RAFO, it depends on the person. Hoid is not originally from Roshar.

Questioner

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

Brandon Sanderson

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

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

Brandon Sanderson (paraphrased)

Sophie, the robot that Melhi made to mess with Kai, is Melhi: she made a robot duplicate of herself. Brandon said that she actually feels kind of bad about all of it now...but that she's also rather messed up.

Brandon Sanderson

Life Sense as Part of the Magic

The ability of the Heightenings and Breath to give people an added dose of life sense was part of my attempts to make Awakening, as a magic system, feel more visceral and real. Allomancy is a great magic system, but I wanted a different feel here. In Allomancy, the powers granted are more like superpowers; with Awakening, I wanted something that felt . . . well, closer to what people already do.

Perfect pitch and perfect color recognition are two things that I think resonate this way; the ability to bring inanimate objects to life may seem wildly superpowerish, but I think it's a part of our own superstition and mythology—or at least the superstition and mythology of our past. Life from things inanimate, like spontaneous generation, was long assumed as something real. Witches were often thought to be able to bring sticks or bundles of cloth to life.

I think that there's still a lot of superstition in our modern world regarding how it feels to have someone watching you. We are more aware of our surroundings, sometimes, than we realize. I think we attribute a supernatural connection to some of these things. Who knows? Maybe there is one. I don't know, perhaps I've got a bit of it myself.

Enhancing this and making it part of the magic was a way to get the visceral feel I was looking for. It also plays off the idea that by giving up your Breath, you give up part of your life. The fact that Drabs can't be noticed by life sense allows me to show that they have taken one more step toward being objects themselves.

BioChroma. It turns objects into living things, but turns living things into objects as well.

JavaPython_

What tips would you have for a beginner sketch artist/free hand drawer? How can I improve my illustrations? (I'm left handed, don't know if that'll make a difference or not.) I'm not horrible, I just tend to make large mistakes and since I prefer pen and pencil drawings (in a LOT of colors of ink) I can't really fix it.

Ben McSweeney

Being a lefty shouldn't hold you back, I've known plenty of excellent animators and illustrators who work sinister. Biggest hassle I know of is setting up your desktop workspace with hotkeys and all, everything is biased for dexters.

Gosh, tips... well, practice is the big one, but I know that sounds glib. I think it's true, though, that in order to be successful as an illustrator you need to love the process more than the project or the results... it's as much about doing the thing as seeing and being the thing. Rewards and results are fleeting, but the job is forever. So, you know, it's part of the process to review your work, identify your weaknesses, and seek active solutions.

I can't emphasize the value of rough layout and structural sketch lines enough... I never go straight to the finish lines, I need those buildup sketches in order to know where the finish inks will go. Even more so when working with real media, where you can't Undo your way out. If you're not applying the classic rules of structural composition, that might go a long way towards helping improve your stuff. My go-to was red pencil, but you can do a lot with a 4H or even an HB with a light hand.

If you're already doing that, then I'm not sure what to suggest... keep practicing, I guess?

wackyHair

How did writing this differ from writing the Infinity Blade novellas?

Brandon Sanderson

The IB novellas were interesting in that I was specifically looking to explain game mechanics with a narrative, something that the Wizards people didn't want me to do. (That said, I slipped a little in here and there, such as Davriel "flashing back" many of his spells, using them again and again.)

I'd say that here, the biggest difference was knowing of an existing lore and mythos that I wanted to weave my story into, rather than creating it wholesale from the game. (Which is what I did with IB.)

Questioner

Is Dalinar Unity because he's the combination of all three Shards, through the Thrill, the boon and curse, and the Stormfather?

Brandon Sanderson

So, I'm leaving that as a RAFO, Read and Find Out, but that's a very good theory.

Bluebar

So does a Bloodseal have to be carved from bone?

Brandon Sanderson

Doesn't have to be, but usually is for various reasons.

Sporkify

This is more towards the whole physics stuff, but is Feruchemy really balanced? If it gives diminishing returns, wouldn't this end up as a net loss of power?

Brandon Sanderson

It doesn't diminish. Or, well, it does—but only if you compound it. You get 1 for 1 back, but compounding the power requires an expenditure of the power itself. For instance, if you are weak for one hour, you can gain the lost strength for one hour. But that's not really that much strength. After all, you probably weren't as weak as zero people during that time. So if you want to be as strong as two men, you couldn't do it for a full hour. You'd have to spend some energy to compound, then spend the compounded energy itself.

In more mathematical terms, let's say you spend one hour at 50% strength. You could then spend one hour at 150% strength, or perhaps 25 min at 200% strength, or maybe 10min at 250% strength. Each increment is harder, and therefore 'strains' you more and burns your energy more quickly. And since most Feruchemists don't store at 50% strength, but instead at something like 80% strength (it feels like much more when they do it, but you can't really push the body to that much forced weakness without risking death) you can burn through a few day's strength in a very short time if you aren't careful.

Brandon Sanderson

Updates on Secondary Projects

White Sand

Graphic Novel 1 was a huge success, and Graphic Novel 2 is finished and off to the printers. Expected publication date is February 2018. It will be the second of three.

The prose version is still available to be read. If you sign up for my mailing list, we auto-send you a link to it.

Status: Graphic novel 2 coming in early 2018.

Questioner

When Shallan asked Jasnah about the Soulcasting with the jam, was Jasnah intentionally trying to reverse-assassinate Kabsal?

Brandon Sanderson

RAFO, but more I just need to make sure I look at the details before I can answer that one.

Lady Radagu (paraphrased)

How do Shallan's Memory blinks work? When she takes a Memory, is it of what she sees in the instant before her eyes close, or is it while they're closed?

Brandon Sanderson (paraphrased)

It is what she sees right as they're closing.

Questioner

I love the Hoid scavenger hunts that have been going on. What does he-- what powers does he have, what magic has used *inaudible*?

Brandon Sanderson

If you watch in these books, he has used on screen so far three of the different magics.

Questioner

And have we seen those three-- do we know what those three are?

Brandon Sanderson

You know at least two of them. Very deep clues-- very more obvious clues are in this book [WoR].

Questioner

And I haven't gotten to yet-- you can see where I am.

Brandon Sanderson

Yeah; watch where he and Kaladin have some interactions. If you watch carefully you will see something in what he mentions. You've already seen him and Shallan, that scene in one of her flashbacks.

Questioner

I was almost-- I was reading that scene like "that has to be..."

Brandon Sanderson

Yeah, in that scene he uses one if you watch.

Satsuoni

Tell us something new about Cognitive Realm, please :)

Brandon Sanderson

You will get plenty in the next Stormlight book. But more than one type of spren live there.

Brandon Sanderson

Butler's betrayal

Yes, the butler is a traitor. It's a cliche, but it fit the narrative very well, so I went ahead and used it. I don't think a lot of people will see it coming, though there are several clues. One of them is the fact that he makes only one cup of tea here and brings it for Wax; Tillaume is not accustomed to killing people, and he's extremely nervous in this scene. That's why he made the mistake of not making three cups and bringing them all over. (My writing group caught this, which amused me. They thought it was a mistake in the writing, though.)

One of the things that made me want to write this story, and keep going on it after I'd started, was the chance for good banter between Wax and Wayne. They play off one another well, and I haven't had a chance to do a book in a while (ever since the first Mistborn book, really) that had a good, long-established relationship between main characters who I could play off each other in this way. There is something deeply satisfying for me about this kind of writing, even though it's really just silly banter. I feel as proud of moments like Wayne toppling over because of the tea, then the conversation in the speed bubble, as I do of a deep character complexly coming to a character climax at the height of a story. That's because, at least as I see it, this is as technically difficult to pull off—the right feel of two characters with a very long relationship, talking in a way that conveys their years of experience with one another. And, at the same time, hopefully being amusing and interesting.

It's very dense writing, for all the fact that it doesn't read that way. (Unlike, for example, a really good section of dense description, laden with meaning.) Part of the reason it works is because it feels so easy to the reader.

Questioner

Are there going to be any more stories set in The Emperor’s Soul time?

Brandon Sanderson

You will probably see Shai again but I can’t promise that I will do another story just about her. That’s in part because The Emperor’s Soul turned out so well, that it feels like one of those things that feels like it should be left alone. It just-- Not everything needs a sequel. And in some ways it was so successful that it’s better not to do one, if that makes sense.

Brandon Sanderson

*drawing in book* <-- picture of a Shard you haven't met.

Jason Paas

Are Odium and Devotion opposites?

Brandon Sanderson

One could make that argument.

the other Nathan

If a large group of Windrunners lashed enough mass towards a single point, could they create a black hole?

Brandon Sanderson

Offhand, I think that would be theoretically possible, though in practicality impossible. We'd need [Peter Ahlstrom] to do some math.

Questioner

I was curious if Nightblood was the only one of its kind, or if Vasher and Shashara have made any others.

Brandon Sanderson

That's a RAFO. Good question. Very good question. There was a point in time when Nightblood was the only one of its kind, and it may have continued until now.

Argent

The person who arrived at the gates of Kholinar, the one you refuse to acknowledge as Talenel - is that person the same as the one delivered to the warcamps?

Brandon Sanderson

Yes.

Questioner

I have a quick question about the uniforms in Skyward. Is there a specific color for Skyward flight?

Brandon Sanderson

Not for Skyward flight. They are all using the same jumpsuits, and things like this. By the second book, they probably will have... once they kind get ahead of it a little bit, they can start doing things like painting the ships. But in this book, really, you're basically wearing a jumpsuit--

Questioner

It's blue, it's unceremonial.

Brandon Sanderson

Mmhmm.

Questioner

I wanted to ask have you ever considered making any of your books into an animated series?

Brandon Sanderson

I would! If the right people approached me, I would certainly not turn that away. I think there are more people wanting to get series made than there are people making good ones, but I would jump on it if the right people came along.

17th Shard

Now that we've seen Shadesmar can you elaborate more on it? Perhaps why you wanted a map of it included in the book?

Brandon Sanderson

RAFO.

Questioner 1

Have you ever taken the Myers-Briggs test?

Brandon Sanderson

I have. That's the one that's like the letters. I am whatever the Mastermind is.

Questioner 2

INTJ?

Brandon Sanderson

Yeah.

John Ottinger

You have stated elsewhere that your story is about a world recovering, a world that has fallen from the height of its power. Why did you choose to set your story in such a setting, what about it makes it an appealing place to write about?

Brandon Sanderson

Several things. There's a real challenge in this book because I did not want to go the path of The Wheel of Time in which there had been an Age of Legends that had fallen and that the characters were recapturing. Partially because Robert Jordan did it so well, and partially because a lot of fantasy seems to approach that concept. But I did want the idea of a past golden age, and balancing those two concepts was somewhat difficult. I eventually decided I wanted a golden age like existed in our world, such as the golden of Greece and Rome, where we look back at some of the cultural developments etc. and say, "Wow, those were really cool." And yet technologically, if you look at the world back then, it was much less advanced than it is now, though it was a time of very interesting scientific and philosophical growth in some areas. What we have in Roshar is that the Knights Radiant did exist, and were in a way a high point of honor among mankind, but then for various reasons they fell. The mystery of why they did and what happened is part of what makes the book work.

Why is this world appealing to write in? Well, I like writing my worlds like I write my characters, where at the beginning of the book you're not starting at the beginning or the end of the characters' lives; you're starting in the middle. Because when we meet people, their lives don't just start that day. Interesting things have happened before, and interesting things are to come. I want the world to be the same way. Interesting things have happened in the past, and interesting things are to come again. I want there to be a depth and a realism to the history. It's fascinating for me to write at this point because on the one hand, there are things to recapture in the past, but at the same time there are things that the people in the past never understood and could never do. The former heights of scientific reasoning didn't go at all as far as they could have gone. So there are new places to explore and there are things to recapture. In a lot of ways, this plays into my philosophy for storytelling. The greatest stories that I've loved are those that walk the balance between what we call the familiar and the strange. When a reader sits down and there are things that resonate with stories they've read before that they've loved, there's an experience of joy to that. At the same time, you want there to be things that are new to the story, that you're experiencing for the first time. In this world, that's what I'm looking for. There is that resonance from the past, but there's also a long way to go, a lot of interesting things to discover.

Questioner (paraphrased)

Are Mat's [from The Wheel of Time] memories from the past his own or other people's?

Brandon Sanderson (paraphrased)

Other people's.

Questioner

So. Mistborn in Space. Sixth of Dusk...

Brandon Sanderson

Lot of people are wondering about that and I'm not answering that.

KalynaAnne

Could you make fences, like Rithmatic fences, by having fence posts and drawing Lines of Forbiddance down them and creating a forcefield--

Brandon Sanderson

Theoretically, yes.

Questioner

How much involvement does the other planet in the same system as Roshar have with Roshar?

Brandon Sanderson

*long pause* Your question has a fundamental flaw to it.

Questioner

And that is?

Brandon Sanderson

That there are multiple planets that have an influence on Roshar.

Questioner

I thought there were multiple planets in the system that...

Brandon Sanderson

There are, but you said "the other", there are more than one so the phrase, "the other" doesn't make sense.

Questioner

How much influence do the other planets have?

Brandon Sanderson

A great deal.

Dirigible

If you tap Connection in one area, for location, would that remove your Connection to your original place, where you're actually from?

Brandon Sanderson

Um, RAFO.

Questioner

In the ancient religion with Trell, the god, he had a brother Nalt.  Is Nalt in any relation to Nalthis, the planet?

Brandon Sanderson

Hehe, that’s a good question.  Hmmm.  I’m going to RAFO that for now.

JWMeep

A question about Goradel. His end was very tragic, and was one of the things that had me in tears. The thing that really twisted the knife into me, is that he died that horrible death thinking that he had failed. When everything he tried to survive failed, his final act was to try to prevent the message into falling into Ruin's hands, but even that was futile. With those who seem to be active in the great beyond, did Goradel ever find out about what his actions helped to bring about? Was he ever thanked for his actions?

Brandon Sanderson

Well... I don't want to speak too much about the great beyond in the books, as in my opinion that level of cosmology is influenced by your own beliefs in the hereafter and in deity. Beyond that, I would rather not speak of what happens to the souls beyond the three Realms, as even Sazed doesn't know that.

Perhaps this will help, however. Like most of the leaders of soldiers in this series (Demoux, Wells, and Conrad included,) Goradel is based on and looks like one of my friends. In this case, it's Richard Gordon. He's read the book and cheered for his namesake's sacrifice and eventual victory. So the REAL Goradel knows. ;)

Questioner

If Adonalsium was whole, would there be other powers in the cosmere that could threaten it?

Brandon Sanderson

RAFO. But I would say the fact that Adonalsium was Shattered answers that question, itself.

Questioner

You obviously treat your writing career pretty much like a business. On your blog, you talked about staff, and stuff like that. So I'm wondering if you have advice for emerging writers to build their careers with an eye towards business? Business stuff?

Brandon Sanderson

A couple thoughts here. One is, nobody warns you that becoming a novelist is starting a small business, and it hits almost all of us like a ton of bricks when we realize, "Wait a minute. I have to do-- I have to get insurance. I am an independent contractor; I'm not working for the publisher, so I have to pay taxes in installments during the year." (What do you call those... estimated taxes. You have to do estimates, and things like this.) And you have to do all of this weird stuff that can be really hard. That no one-- The writing problems don't generally talk about this. And they don't talk about getting an LLC, or things like this. I had to stumble through all this. And so, I would say to you, do know that becoming a writer, you are starting a small business. So any kind of classes you can take, or things you can read online on starting a small business, are gonna be a huge help to you in that.

The other thing is, I often-- and this, I figured out pretty early on. I figured out that trying to write toward the market was an exercise in futility. I had a speech about that a couple years ago. Trying to always look at writing from a business perspective is going to drive you insane, for multiple reasons, like I just talked about, I just failed at writing a book last year, and I still don't know why. That's not something that really flies in the world of "everything adds up," because it doesn't. That should have added up to a book that works, and it didn't. Because writing is an art. There's an artistic side to it, there's a thing we can't explain. I can't explain very well how I get characters. Like, I outline my plots and my world; my characters come more organically, and it's really hard for me to talk about character for that reason, because putting it into words is difficult.

But one thing you can learn to do is that you can, when you're writing, try to throw all of that aside. Try to focus only on, "What are you passionate about? What does this story need?" And try not to think about the business side. When you finish that story, lock the artist in the closet, take the manuscript, run away cackling, and try to find a way to exploit it in any way you possibly can. *laughter* That is my suggestion on balancing the businessperson and the artist. Let the artist write whatever they're passionate about. And then the businessperson's job should be separate, but same person different hat, and learn how to turn that into food on your table. Try to learn how to make that balance work. And I think that will take you pretty far.

AutonomousJoy

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

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

Brandon Sanderson

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

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

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

Brandon Sanderson (paraphrased)

The old ardent in the Palanaeum is Pailiah.