Rasarr
On Oathbringer cover, Jasnah seems to be in the air, flying, but she never had flying ability before...
Brandon Sanderson
She is not flying, that's more artistic liberty on Michael's part.
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On Oathbringer cover, Jasnah seems to be in the air, flying, but she never had flying ability before...
She is not flying, that's more artistic liberty on Michael's part.
Is Jasnah's return similar to Kelsier's?
No. Good question.
Would a Seeker know if something's endowed with Breath or if someone was holding it?
Seekers have a lot of trouble with just detecting Investiture that isn't being used in some way. They could catch Stormlight that you've breathed in, because it's starting to do stuff. If just something has Stormlight, like a gemstone or something like that...
I meant from Warbreaker. If you'd endowed like, a large thing with that, could you see that?
Oh, something with Breath, could they find that with a Seeker. That's right. There are theoretical applications of this, but I would say your average Seeker, no. There is a way to get there but if you just took a Seeker from - and said do you - they would not be able to do that.
Will there be a map of all the countries around the Inner Sea in the Warbreaker Leatherbound? It would be cool to see the distribution of the Tears of Edgli on the map!
There won't be a map of this in the Warbreaker leatherbound, but if there's ever a sequel, that's the likely place we'll put this.
Is M-Bot your ideal own pet dragon, essentially?
Yeah, M-Bot's pretty close. I've mentioned before that M-Bot came from me basically writing a dragon story but with a spaceship instead.
Has he hinted at how long of a time gap it's going to be [between the two Stormlight arcs]? Are there going to be the same characters in each sequence?
Time gap is around ten years, and the back five will largely include the same characters, but the focus will be more on the Heralds.
Is this a minor spoiler? I was under the impression Moash was going to attempt and kill them all. Or if only the king of the Heralds needed to die. Its possible I misunderstood that part.
Dead people can still be main focuses of books in Stormlight because of the way I do the flashbacks.
This isn't a promise that they do die, or that they live. Only a note that me announcing someone gets a flashback book isn't an indication they live to that book. Only that they have some interesting events in their past that I intend to delve into.
The Crew Discusses, sometimes angrily, what to do
This scene with the crew arguing is one of the most honest scenes we get in any of the books. Finally, they let their real emotions out. They're not always happy, and they don't always get along. Dox and Ham particularly tend to get on each other's nerves. They don't talk about it often, but the two of them have never gotten along. Which is why we don't often see them interacting together.
However, they're working together again by the end. What these men needed is a plan. If they don't have one, they fall into squabbling. If there's something they can focus on and work toward, they can keep going.
Sending Vin and Elend away is pretty daring of them. I think it makes sense, though. How much good can one person, even a Mistborn, do against an army?
Is Dalinar a Sliver?
RAFO.
Is there a question that's asked most often?
Yeah, "When's the sequel to X" is number one. Followed by what you would think are the standards. "Who's your favorite character," "What's your favorite book." Those style questions take up easily the top 20. Not at a signing like this at BYU full of Sharders, but at Comic Con, every second question is probably "When is this coming out, are you working on a sequel to this."
So, pre-collapse Final Empire. The random Allomancer house guards. Were-- are they house members, or--
Oh, yeah usually it's uh-- So if you've got an Allomancer it's because the family's gotten large and there are lots of cousins, and distant cousins, and things like that. And the Allomancy shows up in some of them, and they kind of get brought up in getting a retainer. They're kind of like knights, right? Like, you get money from the house and things like that, but in return you have to protect the -- use your Allomancy for them.
I’m a big fan of Jasnah. And I hope you’ll do her justice in the next book. Do you say it “Jasnah” or “Jasnah”? [different pronunciations]
I say “Jasnah” [soft-J], but you can say it however you want. Remember she’s got a--- she will get a book in the series that has her flashback sequence--
Good!
--but it’s a little ways off.
Does she get a [???]?
She will-- She… You will see a lot more of her, but she is intended to be one of the main characters of the second five Stormlight books. In the first five Stormlight books she’s a supporting character. So we’ll reverse some of the supporting characters and some of the main characters in book 6. Um… So you just gotta to wait until we get some more. But she is on the cover of book 3, so...
Opening Metaphor
Anyway, the image I mentioned above—the small army of people facing off against overwhelming odds—was a metaphor I wanted to start the novel off with. It sets the stage for what's to come. It's the dominant theme of this book and, in a way, the series.
<Do you read other writer's books?>
I do, I try very hard to keep up on what other people writing. I feel that it will make me a better writer as I can learn from them.
If a Shard dies, what happens to the perpendicularity? Does it lose lose power, or fade <away>?
It depends on how the Shard died. A lot of them... if the power is still there, just without a consciousness, the perpendicularity will stay as it was. But there are ways that a perpendicularity could vanish.
In The Rithmatist, you mention that Joel actually sneaks into the classroom, is that a spin-off of what you did?
I actually had a teacher once ask, "Who are you?" One of them actually picked me out. Fortunately, that was one that my roommate was going to, so I was able to [pretend I was just there with him].
Does Vasher have a favorite animal? *laughter* I warned you, it was random.
Does Vasher have a favorite animal.
You've thought of just about everything else for your books--
Yeah, I know... Would Vasher have a favorite animal? I'm sure that he had a pet or something growing up. Vasher hates just about everyone and everything these days.
What about squirrels?
It's a weasel!
He does like squirrels! Undead squirrels.
Introduction
We are approaching Koloss Head-Munching Day—the day of the year that happens, by utter coincidence, to coincide with my birthday. (December 19th.) I'm turning forty this year, which isn't as dramatic for me as it might be for some others. From the way I act, people have been joking for the last twenty years that I was "born forty." I guess I'm finally just catching up.
It's been almost twenty years since I finished my first book. I can remember joking with my friends in college (whom you might know as Lieutenant Conrad from Mistborn and Drehy from Bridge Four) that by forty, we were all going to be rich and famous.
The thing is, I always intended to make that dream happen. Not necessarily for the "rich" part or the "famous" part, neither of which interested me a great deal. I just knew that without a solid, stable writing career, I'd never be able to make the Cosmere happen.
Perhaps that's where this whole "born forty" thing came from in the first place. I basically spent my twenties writing, slavishly trying to figure out how to craft stories. Friends would tell me to relax, but I couldn't, not when these dreams of mine were so big. It should be mentioned that despite what our society would like to believe, hard work doesn't always equate with success. For me, luck played a huge part in my being able to sit here and type this out for you.
Still, here I am, and I honestly can't imagine things having gone better. People often seem bemused by my productivity; when I get together with fellow authors, they sometimes jokingly refer to me as "the adult" in our group. I get this—for a lot of them, writing is more of an instinctual process. Sitting and talking about the business side of things, or their goals for writing, flies in the face of the almost accidental way they've approached their careers. And it works for them; they create great books I'm always excited to read.
However, sometimes there's also this sense—from fans, from the community, from us authors in general—that whispers that being productive isn't a good thing. It's like society feels artists should naturally try to hide from deadlines, structure, or being aware of what we do and why we do it. As if, because art is supposed to be painful, we shouldn't enjoy doing our work—and should need to be forced into it.
If there's one thing that has surprised me over the last ten years, it's this strangeness that surrounds my enjoyment of my job, and the way my own psychology interfaces with storytelling. People thank me for being productive, when I don't consider myself particularly fast as a writer—I'm just consistent. Fans worry that I will burn out, or that secretly I'm some kind of cabal of writers working together. I enjoy the jokes, but there's really no secret. I just get excited by all of this. I have a chance to create something incredible, something that will touch people's lives. In some cases, that touch is light—I just give a person a few moments to relax amid the tempest of life. In other cases, stories touch people on a deep and meaningful level. I'll happily take either scenario.
Almost thirty years ago now, I encountered something remarkable in the books I read. Something meaningful that I couldn't describe, a new perspective, new emotions. I knew then that I had to learn to do what those writers were doing. Now that I have the chance to reach people the same way, I'm not going to squander it.
I guess this is all a prelude to a warning. I'm working on a lot of projects. Many of these tie together in this epic master plan of mine, the thirty-six-(or more)-book cycle that will be the Cosmere. Even those books that aren't part of the Cosmere are here to challenge me in some way, to push me and my stories, to explore concepts that have fascinated me for years.
These last ten years have been incredible. I thank you, and I thank God, for this crazy opportunity I've been given. I don't intend to slow down.
I'm not embarrassed to be "the adult." Even if I've only just hit the right age for it officially.
If I had any questions at all, I would say: ramp? Stormlight Archive, as it's going forward, like super power creep issues. The characters get so powerful so quickly, and it's gonna be a 10 (hopefully) book series.
Remember, it's two sets of five. And we will be... how about this. We're just gonna RAFO you now, because I'm being recorded. I'm not gonna give you any hints about the future. Just... I've got it in hand.
I was able to write three books about Rand al'Thor at the height of his power, so I'm pretty convinced I'll be okay.
How do you see the metal, burning metals in corresponding to film?
So I've always thought that they would make the metal glow blue once you start burning it rather than the lines. The lines I don't think will look as good on film as they work in the books so that is what I've always kind of thought it would do. You start burning it, all sources of metal start turning blue and then you can you know shove on them and things.
I was wondering if it is possible to steal Surgebinding with a Hemalurgic spike?
Yes, but if you're stealing it from a Radiant, you're going to be stealing the bond, which the spren has an influence over. So, it's maybe not going to work as well as you might hope.
Shalash will be having back-five flashback POVs. In Oathbringer, you seemed to portray her as pre-Shattering. For example, "Oh, Adonalsium!" and referring to Hoid as Midius. Will later Stormlight books focus on pre-Shattering stuff at all or will we have to wait for Dragonsteel for that?
There will be more of a pre-Shattering focus, but not as much as you're probably hoping.
Is the Nightwatcher a spren of Cultivation in a similar way that the Stormfather is to Honor?
The Nightwatcher is not Cultivation but is related. You're on the right track.
Your magic systems, they're genius.
Oh thank you very much.
There's a certain subtlety to them that doesn't overtake the story which in some books could easily happen. How early on in your process do the magic systems have to be looked at an really put into place?
Every book is different. For some books the idea is a plot idea that starts me and for some books it is a setting idea--and magic systems are setting ideas in my head--and some its a character idea. With a character idea its usually a conflict, "that's an interesting conflict, what can I do with that" With magic systems it's usually "this will allow me, as a writer-- it will force me to stretch. It will have interesting limitations, it will do interesting things visually on the page, it will change the world in a very subtle yet important way that then I can explore" If we change one little piece of physics what does it do to the world, this sort of thing. I'm usually getting a lot of my ideas from reading science articles and things like this. Stormlight Archive is based off the fundamental forces, Mistborn is based off of vector physics and metabolism and things like this. These ideas-- I like having one foot in science and one foot in superstition for these magic systems. I usually don't start a book until I've fleshed out the magic system pretty well. That said when I was doing Stormlight Archive, the version that you have read I didn't have the terminology and how it was going to feel for the lashings until I wrote Szeth's opening scene, and that was where I really nailed down how this would look on the page and how it would feel. Sometimes you just need to write, you can't just plan endlessly and not write anything. But most of the time I have that nailed down. If people are interested in this you can look up my essays on writing magic systems, I think they are fun, but I humbly titled them Sanderson's first law, second law, and third law. So I think highly of them. You might find them interesting. They talk about my philosophy on writing and on magic systems.
What technology that you have heard of recently in real life has inspired fantasy?
There's gotta be something in Skyward, right? Maybe?
Obviously, the Legion stories are, all three of them, inspired by real-world technology that I read something interesting about, and then go and write a story about. The first one, taking pictures of the past with a camera, not a real-world technology, but I was reading about photography and things like that. The second one, storing data inside of human cells, that's a real thing that lots of people are trying to do that, it's very interesting. And I didn't want to do a story about that, because I thought other people would do stories about that, so I did a story where someone storied data in a body and then lost it. And the third one is directly inspired by my kids love of their VR.
Torena
So. . .in the original draft, Torena is Eventeo's new spy in Arelon. Do you remember the conversation that Sarene and Eventeo had a little ways back? The one where he told her he had a new spy in Arelon, and refused to tell Sarene who it is? Well, yes. Torena.
When I was writing this book, I went a little bit too far with the hidden pasts and amazing discoveries. I had Torena being the one who came to rescue Sarene from the Dakhor. (She arrived in a second carriage, I think.) However, the Dakhor caught up to them again, and suddenly Kiin appeared to save them.
This scene was terrible. It's not that any of the pieces were bad. It's just that it was too repetitive. First you find out Torena has a secret past, and that she's come to rescue Sarene. Then we find out that Kiin has a secret past and he's come to rescue Sarene. It just didn't work–and the Torena surprise, which was only mildly foreshadowed, ruined the much better Kiin surprise.
So, I cut the Torena parts–and I'm very glad that I did. My early alpha readers said that the worst part about the book was how all of the surprises at the end interfered with each other. Looking back, some of the things I did are embarrassing. I was adding surprises just for the sake of surprises. This is always a bad idea–surprises should be integral to plot and character, just like everything else. We want to find out about Kiin because we like him and are interested in him. We don't really care about Torena.
(In my defense, I originally intended Torena to be a female friend for Sarene, kind of a second sidekick. However, there were already too many people hanging out with Sarene, and I just couldn't work Torena in without complicating things even further.)
So, at the end of Mistborn Era 1, Sazed takes up both [Preservation] and Ruin, Shards which are obviously fairly diametrically opposed. Secret History implies that Sazed is able to hold both of them at once because of (for lack of a better term) who he is, and therefore implies that other people might not be able to do the same. Is that true? What would happen if someone tried to take up multiple shards and didn't have those qualifications?
Sazed was uniquely able, yes. Usually there would be an imbalance favoring one shard, which would override or push out the other.
Like, physically expulse?
Right. Not necessarily, but yes.
So what would happen then? Would it just float around? Would it Splinter? Could it be dragged into the Cognitive, like on Sel?
Oh, you guys finally figured that one out?
No, no, it's- it's in the book.
*points to Arcanum Unbounded*
Right, yeah, I gave you that one. But it depends- it depends on the circumstances. It might Splinter. In the right circumstances, it might obtain its own sentience. Or it might seek out a holder on its own.
Wait, you mean, sentience without a holder? Just...?
In the right circumstances, yeah.
And if it sought a holder, it would be inclined to find someone that would fit better with its intent?
Yeah.
And these circumstances would also depend on which Shards are taken up? Like, if they're less opposed that Ruin and Preservation?
Yeah, exactly.
Graves tells Kaladin and Moash that with Elhokar out of the way, Dalinar would become king and be much better for Alethkar. Obviously Graves isn't totally truthful with them, he is working for the Diagram and wants Dalinar to be king in hopes he becomes the Blackthorn, the warlord, and provides no real competition to Taravangian in becoming king of everything. However, in the scene when Kaladin faces down Graves and Moash, Graves makes a comment on how it was too late, and he just had to keep Kaladin away from Dalinar, presumably so Szeth could assassinate him. Then the last we see of Graves, he is talking to Moash and says
I thought for sure my interpretation was correct, that if we removed Elhokar, Dalinar would become our ally is what is to come.
How would Dalinar become their ally if Graves was purposely keeping Kaladin away from Dalinar so Szeth could kill him? Is Graves lying to Moash there? That part I never fully understood. It seems as though Graves understands Dalinar is going to be assassinated, yet from what he says to Moash at the end he seems to expect Dalinar would not have been killed.
Graves is supposed to (though people missed this, so perhaps I didn't do it well enough) indicate that the Diagram is not simply one group, following Taravangian. They follow the diagram itself, not him, and some think his interpretations are wrong.
Graves was ordered to remove the Alethi leadership entirely--though Taravangian was sending Szeth after Dalinar (the more dangerous one) and Graves was to remove Elhokar. Graves, however, interpreted the diagram differently. He thinks that Dalinar cannot be killed by Szeth, or anyone, and is hoping to remove Elhokar, have Dalinar step up, and help them. He has passages of the Diagram that indicate, to him, this is the natural outcome of removing Elhokar.
The actual passages, and what it is they're trying to accomplish in specific, has yet to be revealed in full.
Half the Koloss Die
I had to have Elend lose some of his koloss, as just in the last chapter he was thinking that he'd be able to take the city for certain. It would mean losing a lot of lives—mostly on the other side—but he figured he could take it. That left only his morals keeping him from invading.
This way, we've got a double problem. Yes, he worries about the morality of invading—but he now also has to worry about the cost to his own army. It's much more of a risk, which means more conflict and more tension. Hopefully.
The second important part of this chapter, obviously, is the introduction of Kiin's family. Sarene's personality makes her less independent than Raoden or Hrathen. It isn't that she lacks determination, or even stubbornness. However, her plots, plans, and personality all require other people–she needs politics, allies, and enemies. Ashe provides a wonderful way for her to talk through her problems. However, I felt that she needed someone within the court of Arelon with which to work and plan. As the book progresses, you'll notice that Sarene's chapters include far more side characters than Hrathen or Raoden's chapters. In fact, I'll bet she has more than the other two combined. This is just another manifestation of her communal personality–she excels in situations where she can coordinate groups, and she needs a lot of different people to interact with to make her personality really come out.
I have gotten a little grief from readers regarding Kiin's family. Some think that the family as a whole feels too "modern." It is an anachronism that, to an extent, I'll admit. One of the quirks about the fantasy genre is how it generally prefers to deal with ancient governments, technologies, and societies without actually making its characters conform to more ancient personality patterns. In other words, most fantasy main characters are people who, if dusted off a bit and given a short history lesson, could fit-in quite well in the modern world.
I'll be honest. I prefer the genre this way. I don't read fantasy because I want a history lesson, though learning things is always nice. I read for characters–and I want to like the characters I get to know. I like putting characters in situations and exploring how they would deal with extreme circumstances. I just don't think this kind of plotting would be as strong, or as interesting, if the characters weren't innately identifiable to a modern readership.
My in-world explanation for this is simple. Just because our world placed a certain kind of cultural development alongside a certain level of technological development doesn't mean that it always has to be that way. In many of my worlds, culture has out-stripped technology. This does have some rational basis; I write worlds that involve very distinct–and often very prevalent–magic systems. Because of the benefit of these magics, many of my societies haven't been forced to rely as much on technology. There is more leisure time, more time for scholarship, and–as a result–the societies are more developed.
That said, Kiin's family is a bit extreme, even for me. However, the honest truth is that I wrote them the way I like them. They work, for some reason, to me. They stand out just a little bit, but I'd like to think that it's their brilliance and forward-thinking–rather than a mistake in narrative–that makes them seem so much like a modern family.
Have we seen cameos of Heralds on other Shardworlds?
The Heralds are tied to the system by the magic that permeates them. They could not leave.
I thought I saw someone but I guess not.
It’s part of the magic. Some would call them Cognitive Shadows, right? Whether they are or not. "Cognitive Shadow" is a very ambiguous term in the cosmere. It means, basically your soul-- It's the same thing with petrification, right? Investiture replaced your soul, and permeated your soul, and your soul continues to exist, but... you are usually Invested with something, that's tied, and you're basically like pure Investiture then. You're tied to the thing you're Connected to. Most of the things that you're gonna see with that, travelling is going to be very difficult, unless you know how to do it. You have seen people do it.
Who?
Vasher
Vasher... You have seen people do it. But anyone who's got-- yeah.
A Parshendi heartbeat, is it thump-thump thump-thump like a human?
It is very human-esque.
In Stormlight, with Kaladin and his brother Tien, is there a connection or a reason why, whenever his brother finds a rock, that keeps coming up several times?
Yes. So, there's a couple themes going on here. One is just the subtle theme that Tien tends to find beauty in things that Kaladin finds dull. That's, of course, kind of the metaphor. But Tien also was a budding Lightweaver, and he saw color and light a little bit differently than other people did. And he has the same general effect that you'll see Shallan having on people, which is how the Lightweaver views you influences a little bit more how your mood is, and things like that... And there is a magical element to that, as well. There's both a metaphoric reason and an in-world reason.
Could you explain a little more about Cognitive Shadows? When you first mentioned the name and gave the examples of Kelsier and the Shades from Threnody you kind of gave the impression that they were kind of like ghosts. But this past December at the Orem signing you mentioned that the Stormfather and the mist were also Cognitive Shadows. The first makes sense to me, I had an [entire theory about that (although I argued he was specifically Tanavast’s and not Honor’s). The second however really doesn’t make sense to me, unless it was actually the mist spirit that is the shadow and that got missed in the report (it wasn’t verbatim), but even still Preservation is still alive at that point so how can he have a “ghost”? (Unless him sacrificing his mind to form Ruin’s prison counts as “death” in this situation?)
On the first question, I did not say the mists themselves were a Cognitive Shadow. That must have been a misunderstanding. The Stormfather totally is, though. Cognitive Shadows are basically ghosts, which can take a lot of different forms in the Cosmere, but follow general rules.
Is the mist /spirit/ a Cognitive Shadow then?
The mist spirit is a little more complicated than that. That was actually Leras, kind of. He was in the process of dying. But other things are involved there that, unfortunately, must be RAFOd.
So I wanted to know if the asteroid belts around some planets are because of Splintering of a Shard there?
Okay, one more time. If the what?
Asteroids belts around some planets.
Are caused by the Splintering of Shards? So the Splintering of Shards has had cosmological effects; you should not assume that most asteroid belts are caused by the Splintering of a Shard.
Yeah, you know most of the planets, I think all of the planets where the Shards were Splintered have asteroid belts. So is it like the physical manifestation of the Splintering?
You should not assume that all planets that have that are the result of a Splintering of a Shard but the Splintering of a Shard can have such an effect.
In Scadrial, there were cans that were food *inaudible*, what type of metal were they made of?
Tin cans. Just like here.
But you say tin, but was it aluminum?
No. They're probably actual tin.
If I were burning iron, where would the line point to on a steel hula-hoop?
For something like that, it would depend on the Steelpusher's power. For some, it would just be pointing generally toward the center of the hoop--but for skilled Steelpushers, they'd be able to see softer lines pointing in all directions around the hoop.
Are/were all the Five Scholars Returned?
Yes.
Vin Kills Straff
I told you that I couldn't just let Straff die to a random poisoning. He's been an antagonist for far too long–surviving through two whole books. He deserved a sword in the head.
Oddly, there was a great deal of conversation in my writing groups about how to describe Straff dying. The thing is, Vin pretty much chopped him in half–but I don't imagine the koloss sword being that sharp, so I think it would smash and crush as much as cut, particularly considering how hard Vin hit. Some disagreed, and thought the cut should be clean.
Eventually, after trying several things, I just went with this. It's abstract enough that you can imagine what you want. I didn't want to be TOO graphic, nor did I want to cause arguments about something that silly.
When Dalinar teleports away from Vedenar back to Urithiru, the Thrill immediately comes to him even though he just went a very large distance away. Was this due to Odium talking to him directly at that point, or did Odium move Nergaoul there to maintain the effect of the Thrill, or was Dalinar already Connected to/consumed by Nergaoul and the distance effectively didn't matter because Spiritual Realm Things(tm)?
Dalinar's feelings are not always the Thrill. A part of him legitimately feels these emotions--and there are other things happening as well. (Either way, Odium did not move Negaoul in that scene.)
After finishing Skyward trilogy, do you have in mind to write more about this universe?
I have no current plans for more Skyward, but you know me. I always know where a story would go in the future--and sometimes I find places to put them. (This story, for example, is a continuation of something from years ago.)
I'm gonna have a Leecher character eventually, so I don't want to dig into it now, because I want to show it in the books.
Something I've noticed, 'cause I've been watching your videos, which I'm super grateful for. What I was wondering is, something I've noticed is that you're very good at asking the right questions. Like, when you're teaching your class, then you ask questions that garner great ideas. So, this is probably a really hard question, but how do you get your questions?
Instinct, I think. Looking for the questions that are not yes-or-no questions, that's certainly part of it. Practicing deconstructing stories, so that you start to learn, like the whole chef versus cook thing. It's very cook question to say "Why does this tastes good?" It's a chef question to ask "What does putting this spice in do."
Like, "Why does this work?"
"Why does this work?" I think that really leads you on the route to the right questions. A lot of instinct, a lot of practice. Practice makes instincts. The hardest thing about teaching my class is acknowledging that a lot of what I do, I do by instinct, and breaking it down may not be that helpful, even though it sounds really smart, if that makes sense?
And something that you said is that a lot of it is just sinking into your unconscious, because you do it so many times?
Putting things into your unconscious so that you can consciously think about new things until you're familiar enough with those that they sink into your unconscious, and you can focus on something else.
I enjoy the audiobooks. Michael Kramer is awesome.
Yeah, he's great.
Ramon De Ocampo is awesome. So I have two questions. One, when you give the books to the readers.
Uh-huh.
Do you also, like, record for them the actual names so they know to speak... *inaudible*?
Yeah, yeah, so naming-- names in the audiobooks. So I get-- I send them a recorded-- recording of all the names. It doesn't always get to them in time. Because the production-- You can imagine, like, I'm not turning the final book in to Tor for probably another month. And then they have to get that thing recorded, and produced, and out by the-- simultaneous with the book that we are recording. So, sometimes they get them wrong. But I don't really mind too much, because I figure-- this is kind of my philosophy-- there are no really right ways to say the names. The right way is how you say it in your version of the book when you are reading it. You're the director; I provide the script. I could tell you how I pronounce the names, but I pronounce names wrong. Like, I say "KEL-see-er", right? And in world they'd say something more like "Kel-see-AY". And stuff like this. Like I say "KAL-uh-din"; they would probably say "kuh-LA-din" in Alethi. And so, I mean, I'm American. We-- I say things like Americans.
You create some of the most elaborate magic systems in fantasy today; these systems function as intrinsic parts of your worlds and characters. Typically, how do you address the different types of magic systems in your different books? Do you define these systems before you start writing the books, or do they evolve and develop as you go along?
The answer to that is yes! It's different for every book. With my Cosmere books—which are the shared universe of my epic fantasies—I need to be a little more rigorous. There are fundamental underlying principles that guide the magic systems, and so there's a larger developmental phase before I start writing the book. Then I stick more strictly to the rules I've given myself.
All the way back in 2007, I was writing one of my epic fantasies, and it just wasn't working. I needed a break to something creative, different, and distinctive. So I jumped ship, abandoning that epic fantasy, and wrote The Rithmatist instead, which had a lot less planning than one of my epic fantasies.
With something like The Rithmatist—which is outside the cosmere—I'm allowed a little more freedom, which is one of the reasons I like writing books like this, where I allow myself to develop it as I write. The magic was the first thing that got me excited about The Rithmatist, so I based the book around it.
The first thing I wrote was the scene—now late in chapter one—where Joel watches Fitch get defeated by Nalizar in the classroom. It started out on a chalkboard, but I eventually moved it to the floor because that made more sense. As I was writing these chapters, I developed the Rithmatic lines and let the story feed the magic and the magic feed the story in a way that some writers call "discovery written."
In the Letter, in The Way of Kings in all the epigraphs. It was mentioned that the author of the Letter was accused of perpetuating grudges regarding Rayse and Bavadin.
Yes.
That being said, are there any Vessels or Shards i.e. Bavadin, sympathetic towards Rayse's cause?
There are some who are more li-- more willing to go along with it than others, yes.
Will we know all the words [Radiant Ideals] when this is done?
If I don't get all of the words for the different orders into the mainline books, I will release them separately.
So one of the things people have been asking about a lot the nature of Identity and its uses for accessing other people's metalminds, and things like this right. And I hedged a little bit when somebody asked me... *inaudible*...send people into spirals of confusion, so I'm gonna clarify it for now. So, someone comes in and says, we need a blank metalmind, anybody can use that. I'm like, yes but, the reason that it's a hedge is that you need to actually be a feruchemist to access it, right, you can't just hold the blank metalmind not being a feruchemist, even though it's somebody else's investiture that's been blanked, right. So people keep kind of missing this thing. I'm hedging in the sort of, you don't quite have it, I've kind of dodged it, but I worry that it's just going to be confusing.
So the issue is, you need two things from one of these. You need something that makes you a feruchemist, and then you need a metalmind that somebody else has filled with blank investiture, ok. Now if you can get pure investiture, that can be used by anybody, regardless, ok, you need it in pure form though. But, so there are some other tricks with this as well that don't make it...so anyway, you've got a couple of things that can go on. So you've got a blank metalmind, right, with nothing. You need either investiture, to be able...like you need to be the right type. There are ways to access that if you are completely blank also, if you were a blank slate, but that is still...kind of hard. It's even harder if you are blank, and the metalmind is not blank, but that's not what they're doing in Mistborn right now. You are tapping investiture, gaining the ability of feruchemy and then you are drawing out a blank metalmind, ok. That's the one you need to be...and everything else I'm hedging on intentionally, and I'm worried I hedged in a way that made it sound confusing, ok. So you know now what they're doing. You know that there are other things possible. But I don't want you to think that you have the explanations for how all those things happen, ok.
Do you plan on having any more mistborns in the Wax & Wayne series?
Read and Find Out.
Can you give away a Divine Breath to another human? If so would they have the same powers as a Returned or would they just 'store' it like an inanimate object that Breath is stored in when not Awakened? Does a human require a 'crack' in their spirit web to receive a divine Breath?
So, a Divine Breath-- you're kind of going along the wrong direction on that line of reasoning. Divine Breaths cannot be transferred. When they are used they immediately become kinetic Investiture and are activated. This manifests normally as healing the person, both body, mind, and soul, but you can't give it up, transfer it in the same way you can regular Breaths.
Chapter Forty
Zane Visits Vin after the Fight in the Assembly
She mistakes Zane for Elend here, which is a nice little subconscious indication of the mental turmoil she's going through. The best part about this conversation is that I think Zane makes a lot of good points. That fight WAS too hard for Vin, and she really is being turned into a tool. I don't think that's as bad a thing as Zane implies, but he's being honest.
I'm not trying to make a statement against assassination. Given these circumstances, I actually think assassinating Straff would be a reasonable choice. However, I don't think it's a good thing for Vin to do here. She's too close to the edge, too confused and too hurt by the killings she's already had to perform. Plus, I do think that waiting is also a good idea–there's still a chance for diplomacy to work, and the armies haven't attacked yet. Killing someone right now could set the whole thing off.
I still worry that the Zane planting an Allomancer amidst Cett's retinue thing was a bit of a stretch plot wise, and I wonder if any readers are going to be able to follow what happened here. I think this is just about the line of what I think an author can get away with and still have things make sense. Zane's plan went off just a little too well, without problems. I think it works since we don't get to see much of the plan and preparations he made, and can therefore suspend disbelief and give him the benefit of the doubt when it came to how much work he put into making this plan work.