Questioner
Is it fair to say that when one of those power sources become vacant a person, or something with--
Brandon Sanderson
Something can-- naturally will pick it up, yes.
Found 14294 entries in 0.296 seconds.
Is it fair to say that when one of those power sources become vacant a person, or something with--
Something can-- naturally will pick it up, yes.
Did you have trouble killing Vin?
No, because by then, I was well prepared for it. I was worried about what the response would be, but it wasn't hard for me to do, because that was the story. Sometimes, when I'm doing this, I've outlined for a long time, I've planned it for a long time, it's almost more like I'm writing history, if that makes any sense.
One of Kaladin's early chasm duties, he examines a very distinctive knife with a figure at the center of the hilt, nicely carved with a man of fine armor... How similar is this knife to the one Moash used?
RAFO.
As someone who has studied Asian cultures and history and mythology, would you consider writing a story in the Kamigawa plane? It's one of my favorites but it seems to be a bit underloved, and I'd love to see some more development of it in a story.
I'm a big fan of Kamigawa, and would call Toshiro Umezawa an inspiration for doing a black-aligned hero in this story. So it is something I'd consider.
Any good reads you recommend for the book fans?
I have recently read Promise of Blood by Brian McClellan. I guess it's been a few months now. I really like that. The other most recent book I read is an unpublished novel that I'm hoping will be published because I thought it was fantastic, by a friend of mine. It's called A Thousand Faces—I don't know if she'll end up changing that title. But, Promise of Blood, very good, highly recommended. And if you're looking for something great, and you haven't tried Terry Pratchett, he's one of my go-to recommendations. I love Pratchett's work. Don't start with the first one. Start with Guards! Guards!, or The Truth.
Compounding requires practice, according to The Hero of Age's annotations. And yet, it's apparently as easy as burning a metalmind. What was going on that meant the Inquisitors couldn't figure out how to do it (despite Ruin likely knowing how and undoubtedly wanting them to learn) for over a year? What skill did they need to practice doing, exactly?
And what happened while they were practicing burning metalminds without successfully Compounding? Did they get an Allomantic effect?
What I think I was getting at in the annotations was a cosmere magic rule that, perhaps, I hadn't completely refined yet. This is the idea that INTENTION is vitally important to the workings of most cosmere magics.
You can learn to burn metals instinctively over time, but it does take time--time for your body to figure out what it's doing. If you have instruction and guidance, you can pick it up in an evening, like Vin did. Same goes for most of the magics. This ties into Awakening, with the idea that you have to form a command.
During Warbreaker was where I really refined this aspect of the magic. Logically, since the beginning of the cosmere, I've wanted all three Realms to be important to the way the magics worked. The "Practice" therefore for compounding is mental practice--a barrier to overcome in understanding what is happening, and what it will do to you.
If you already know all of these things by having it explained to you, that barrier is far less high. I think that was what I was talking about in the Annotations, without really having the idea specified yet--though I'd have to look back at the annotation and re-read it to say for certain.
I know they are not a part of the Cosmere, but does the Reckonersverse follow the rules of Realmatic theory?
No. Instead, it follows quantum multiverse theory.
Have you ever drawn a illustration of a character that is raising his/her eyebrow?
You better believe it. I've caught myself drawing Dreamworks Face on a number of occasions. It's a very versatile expression that exaggerates easily, but I'll admit it's pretty beat to death.
What's your ideal work environment?
Sitting by the fire, feet up, easy chair--recliner, laptop, music. It's not very complicated. I can write almost anywhere if at least the laptop and music are there.
What do you listen to?
It really depends on my mood and what I'm into at the moment. Right now I've just got a playlist on Spotify that someone has made. It's called epic soundtracks and there's like 800 songs on it. I put that on shuffle. But I guess it just depends on my mood.
What was Paalm doing during Era 1?
I will answer that someday, so I'm going to RAFO it for now.
We've kind of circled around the issue, but Professor Layton has talked about conics in general. Are we going to see hyperbolic lines and parabolas *audio obscured*
So, there is discussion of that in my notes, we'll see if I can get to it. It's more-- The cultural stuff for book two is more important to me right now, I'm not sure how far I will advance Rithmatics in the next book or not, but we will do some kind of origin stuff and fundamentals in the next one.
Would the Three Metallic Arts operate in other worlds, or are they direct results of Ruin and Preservation and thus only operate in Scadrial?
To use Feruchemy or Allomancy in almost every case, one must have the right spiritual and genetic codes, imprinted upon people during the creation of Scadrial by Ati and Leras. To use Hemalurgy, one must first have someone with these right spiritual and genetic codes, then take the power from them. Other people on other worlds are not going to simply discover the Three Metallic Arts by accident.
Aside from Demoux and Aslydin, are there any couples traveling throughout the cosmere? And if so, do they have any children that also worldhop?
Yes.
You've been pretty open about Dalinar being somewhat based off of Genghis Khan.
Subutai more than Genghis Khan, but yeah.
Is Kaladin based off of George Washington?
Not intentionally. But I can see the parallels as you bring them out. Kaladin was partially based on my reading about... People who have won the Medal of Honor share an interesting characteristic. A strangely statistically high number of them are older brothers. Eldest brothers. Eldest sons. Same with astronauts. And it is that protective instinct that, as an older sibling, you learn, but it can backfire on you as well for various reasons. Kaladin, I was reading a lot about that, so you've got this whole eldest brother superhero complex thing going on.
Has Hoid visited the Nightwatcher and received a boon?
Hoid has spoken with the Nightwatcher.
Would it have been theoretically possible to create thinking life by adding excess Ruin instead of excess Preservation?
Yes.
Concerning the Radiants shardplates, and the glyphs on them that Dalinar had never seen before, is there any relation to these and the AonDor? could they perhaps act as an added focus.
From what i recall, he didnt really give a definitive answer on this one, but he seemed as if we were in the right direction
I'm planning on doing a cosplay of a Parshendi warrior for DragonCon this year. Are they barefoot or do they wear shoes?
They wear shoes or boots.
Is there any chance of queer characters some point in future books?
There already are a number of them. Drehy the bridgeman is based off of my friend Ryan Dreher who's gay. And Ranette, the woman that Wayne chases-- I thought I made it clearer than apparently I did, but she's queer. The woman that Wayne thinks he's in love with. Those are two of them, and there will be others.
Nightblood. Is there a person-- like are we seeing the outpouring of a sword that can now think more than a sword or was there a person...
There was-- There were many people who went into that, because it was all the Breaths that were little pieces of people.
Okay, but there’s not one person more than another?
No. Nope, it attained sapience kind of through sheer weight of Investiture.
Updates on Main Projects
Stormlight
As you just read about above, I am on track for starting this book on January first. I'll begin with a reread of the first three books, as I find I need a periodic refresher, even on my own novels. This will also be important for helping me really nail down the outlines for books four and five.
As I've worked on the Stormlight series, I've shifted a lot of things around in the outlines. Famously, I swapped Dalinar's book and Szeth's book (making Book Three have Dalinar's flashbacks instead of Szeth's). But along the same lines, I moved a chunk of Book Three into Book Two, and then moved around smaller arcs for Three, Four, and Five.
The Stormlight series has a very odd structure. Each novel is outlined as a trilogy plus a short story collection (the interludes) and is the length of four regular books. This lets me play with narrative in some interesting ways—but it also makes each volume a beast to write. The other superstructure to the series is the spotlight on the ten orders of Radiants, with each book highlighting one of them while also having a flashback sequences for a character tied to one of those orders. If that weren't complicated enough, the series is organized in two major five-book arcs.
What this means is that I need to do some extra work on books four and five, as they together tie off an arc. There are some small plot lines I've been pushing back from book to book as I nail down what each volume will include—but I can't do that with Book Five, as it will be the capstone of this sequence. So I need the outlines to be tight to make certain I get everything into them that needs to be there.
Anyway, that's a long way to say, essentially, I'll start posting updates to the Stormlight subreddit in January, and you can follow along there or on the progress bar we'll post here on my website on January first. I've commissioned a special piece of artwork to be used in Stormlight Four blog posts, which we should be able to reveal next year. (I'm pretty excited about it.) So you have that to look forward to as well!
Note that while I'm optimistic about this being my fall 2020 release, delays could happen if the book doesn't come out smoothly on the first draft. I'll keep you updated with regular posts. A lot will depend on how long the revisions take.
Status: Book Four is my main project for 2019, for an anticipated 2020/2021 release.
What author would you want to finish The Stormlight Archive or Mistborn books if you were unable to?
I'd probably want Brian T. McClellan or Brent Weeks, though I don't know if either would have the time.
I was curious about what your favorite board game was, outside of Magic?
Ooh... I'm not a board game guy. I'm a Magic guy. A lot of people who play Magic and that's all they play. My brother's the board game guy. And I don't really have a favorite. I'll play with him, I'll play Catan, I'll play House at Haunted Hill, I'll play his stupid Battlestar Galactica one that takes like a billion years, but I'll do it for fun to hang out with my family, I don't have a favorite of them. If I do have one, it's Sorry, because that's what my family played when I was a kid, and that's not even a real one. Now they these board games, you have those intricate miniatures from Germany, and you set up all these things, and you draw a card, and that's your objective, and you're a zombie... All this weird stuff, and they look a lot more fun. Dominion, does Dominion count? It's not a board game, it's basically Magic again. Yeah, Dominion would be my favorite. I really like Dominion. Stratego's not bad.
Where do the lines point, exactly, when burning steel or iron?
Generally, right toward your center.
On the objects?
Oh, the objects. Center of mass, unless you are starting to get really good at it, whereupon you'll be able to kind of see a sort of spectrum that you can pull on and yank on.
What's your favorite Alcatraz book?
What's my favorite Alcatraz book? They're all my favorites! *laughter* Because they're all like my children. But I would say that the one I get the most amused by is probably book two.
Has a kandra impersonated Mare?
RAFO; sorry.
Are there any author's skills that you envy, besides Robert Jordan?
Yeah! (laughter) No, there are. There are things that Pat Rothfuss does that I think are wonderful. Mostly, his poetry of language, that, I envy his ability to do that. Jim Butcher's ability to pace is just fantastic, and so, I look at him and say, wow, I want to have the ability to pace like that. You know, there are a lot of authors that write really good books that I look at and say, wow, I want to learn from that. And then you do, because that's what you do as a writer. You're like, I learned from this.
How did Marsh survive for so three hundred years and *inaudible*?
Compounding atium. He got a little pouch that one of the kandra gets sent out with if you watch, and then Marsh shows up and he has the pouch.
<When is that>?
Go look for the little pouch of atium.
How do you keep magic, well, magical over multiple books? How do you balance the rationalist impulse of "I need to explain how it works so it seems well thought out and balanced" with some of that Harry Potter-esque sense of wonder? How do you balance the ability to surprise your readers with being careful not to make the magic feel like a deus ex machina? Is the presence of magic in fantasy about more than adolescent power trips? Must the functions of magic be analogous to other technologies or physical processes, or can it be truly alien?
To paraphrase one of the commenters, if you dissect the magic too much, do you risk it dying on the table?
*Maybe I'd put JK Rowling as an exception, arguing that eventually what she was writing was epic fantasy. And it did get better. Mostly.
If you dissect the magic too much, do you risk it dying on the table? Certainly, you do. Any time you explain a magic, rather than allowing it to remain mysterious, you are trading some of the sense of wonder for something else. An ability for the reader to understand the world, and what the characters are capable of. If you give a character a magic box, and say that when it is opened, something magical will happen that's one thing. If you tell them what the magic box does when it is opened, that trades some of the sense of mystery and (a smaller bit) of the wonder in exchange for a plot point. Now the character can open the box consciously, and influence the world around him/her by what is in the box. Done cleverly, you've traded mystery for suspense, which do different things.
When you start explaining why the box works like it does, you also make a trade. You trade more of your sense of wonder in exchange for an ability for the character now to extrapolate. Maybe figure out how to make boxes of their own, or change what the box does when it is opened. You make the character less of a pawn in a scheme they cannot understand, and more of a (potentially) active participant in their destiny.
I'm certainly over-simplifying, and I don't want to understate the power of either side. A sense of wonder, mystery, and a smallness to the characters was essential for such works as The Lord of the Rings. If you'd known exactly what Gandalf could do, and why, it would have changed the experience. Instead, you are allowed to feel like Frodo and Sam, who are moving through a world of giants, both literally and figuratively.
However, there are always going to be trades in fiction. What is it you're trying to do? I tend to gravitate toward worlds where the science adheres to the scientific method. And so long as something is repeatable, it can be studied, understood, and relied upon. You don't have to understand the HOW, so long as you know the WHAT and a little of the WHY. What is going to happen when I open this box, and how can I change the effect?
Done really well (and I'm not certain if I do it really well, but I hope to someday get there) explaining can still preserve a measure of wonder. The classical scientists discovered, explained, and tried to understand science. But the more they learned, the more wondrous the world around them became, and the more answers there were to be found. I think it is important to establish that there IS more to be learned, that the answers haven't all been found.
When you optioned out the game for Mistborn, what happened to the tabletop RPG?
It is still in print, and it's been made. They came to me and pitched, and I said, "This sounds awesome. I like gaming. This is the sort of game that I would like." And we sat and we chatted about game mechanics and things. They designed it all, but I was involved in saying, "This is what I love, this is what I do, and this is the kind of game that I enjoy." So they built it kind of based on the type of gaming I like. And then I kind of annotated the sourcebook. I think they are going to be releasing soon an Alloy of Law supplement. The thing about the Alloy of Law supplement is, because I haven't written the books yet, and I haven't nailed down a bunch of things, I'm allowing them some extrapolation that may not become canon as I write the books. So, keep that in mind, particularly the Alloy of Law one. It's easier when they had a complete series. And even then, I let them extrapolate a bit on magic to make the mechanics of the game work. But when you get the Alloy of Law supplement, if you do, realize that they may be going places that aren't 100% canon.
Did Kaladin say the words of the 2nd Ideal of the Windrunners in modern day Alethi or the ancient tongue that Dalinar uses in his visions?
He spoke them in his own language.
Chapter Sixteen
Lightsong Listens to the Priests Discuss War
Is this an antiwar novel? I'm not sure, honestly. I didn't sit down to write one, certainly. I rarely try to interject messages into my books, though sometimes they worm their way in. (The Alcatraz books are particularly bad about this.)
A war here would be a bad thing. Idris and Hallandren shouldn't be involved in trying to kill one another. But am I, myself, antiwar? Again, I don't know how to answer that.
Is anyone prowar? War is a terrible, terrible thing. Sometimes it's necessary, but that doesn't make it any less terrible. I'm no great political thinker. In fact, being a novelist has made me very bad at talking about political topics. Because I spend so much time in the heads of so many different characters, I often find myself sympathizing with wildly different philosophies. I like to be able to see how a person thinks and why they believe as they do.
I didn't mean this to be a book about the Iraq war—not at all. But war is what a lot of people are talking about, and I think it's wise to be cautionary. War should never be entered into lightly. If you ask me if the Iraq war was a good idea, you'll probably find me on both sides of the argument. (Though I certainly don't like a lot of aspects about it, particularly how we entered it.)
Regardless, this isn't a book about anything specific. It's a story, a story told about characters. It's about what they feel, what they think, and how their world changes who they are.
As a very, very wise man once said, "I don't mind if my books raise questions. In fact, I like it. But I never want to give you the answers. Those are yours to decide." —Robert Jordan. (FYI, that's not quoted exactly. I can't even quote myself exactly, let alone other people.)
The many faces of Cusicesh, are they of real people?
RAFO.
So at the end of Sixth of the Dusk, there's those people that travel in space.
Yes, the Ones Above.
Are those people from Silverlight?
I have not revealed where they're from, but they are from a place you have seen before.
Speaking of Rothfuss, can you tell us how far along he is...
No, I don't know how far along Pat is, when I hang out with Pat I don't ask him because he gets that enough. I'll tell you this, in my outline from ten years ago, the third book is named Stones Unhallowed, and his third book is named Doors of Stone. So either I've got to beat it or change it - I thought, "I have to write this book faster".
Does a Connection medallion account for heavy sarcasm?
It would. Maybe not the heaviest, most deadpan sarcasm.
If a Radiant brought some infused gems into Shadesmar, could they transfer that Stormlight into the black glass substance that seems to compose Shadesmar?
I'll RAFO that one.
If you were to choose (to be) a Feruchemist or an Allomancer, which would you choose?
I would choose Allomancy, because I would want to have Steelpushing; that's my favorite of the powers.
Is that why you gave Waxillium Steelpushing?
Yes.
About Miles from Alloy of Law and his regenerative powers. If he was bisected down the middle and the halves were separated immediately before the healing process could begin, would the two halves each regrow into a whole Miles?
I heard this sort of situation arose with Hoid in Dragonsteel. He had his head cut off.
Good question. In all of the Cosmere's Shard-based magics, the greater portion of a bisected body regrows the lesser portion. If it were done EXACTLY halfway, the soul wold jump to one or the other randomly and that would regrow.
Amusingly, this first came up in 1999, six years before I got published. (I see someone else already mentioned the situation where I had to consider it.)
Who’s going to be the focus for the next Way of Kings?
I spent a long time deliberating this, and eventually, in my plotting, I came upon one of those moments where you’re “Ah, this is what I need to do”, so it is going to be Shallan. So the focus for the next book is Shallan, and half of you want it to be Dalinar, and half of you want it to be Shallan, Dalinar will get his book, Shallan will get her book, but there’s a funny story here. In my original outline, I named many of the books, like Dalinar’s is named Highprince of War. Shallan’s book was actually named after the book that Jasnah gives her, which is very thematically important to her. But then I started telling it to people, and they started laughing, because the book that Jasnah gave her is called the Book of Endless Pages.
So, I thought that was a really cool title, but apparently, that’s going to give the reviewers too much fuel. So you can pretend in your head that it’s called that, but I’ll come up with a different name.
Which universe is [Skyward]?
It IS connected to something else Brandon has written. You'll figure it out when you read it.
Have we seen Odium’s champion?
RAFO.
Is duralumin easier, harder, or the same to Push on allomantically as, say, tin?
I'm going to start moving into "RAFO almost everything" mode here, unfortunately, as (with the weekend over) I need to be getting into the ending of the book itself. Some of the questions, though not yours, are getting very detailed and I need to scale back on answers for now. (Sorry.)
With the maps. How much influence do you get in the creative process of building those worlds?
So, Brandon's actually really good about being collaborative on the maps. There are definitely things that he wants in there. There are definitely things in the maps that he has said, "These need to be there," and there are places where he gives a lot of creative freedom. There are some places on the maps that are named, that I got to name. Which is kind of cool.
And it depends on the map, too. Like, he can tell you what he got for Mistborn. What did you get for Mistborn?
Brandon gave me a picture that was drawn in MSPaint in, like, three colors. And just, like, "Stuff is here." Couple of names, but the basic directions are right. There was no map for Luthadel. I came up with that one, and then he used that to make sure everything was right in the book. So, it kinda goes both ways.
But then, Way of Kings, I actually handed him a picture and said, "Here is the shape. And here are [where] all the kingdoms. Now you can work on actually making it look like a map." But I gave him the exact shape. So it does vary, but a lot of times it'll be, I'll say, "Hey Isaac, look at this cool map I found online. Let's do something like this." Or a few months ago, he was in Europe. You were in Rome, right? You'd seen some maps that hang in the Vatican. And he said, "I wanna do one like this." And that became your back endpage for this book. Was he wanting to do a map like he had seen hanging in the Vatican for our world. And it's actually a painting on a roof that he did. So if you open up and look at the back endpage [of Words of Radiance], it is a roof that he has painted as if it is a roof in something like the Vatican.
Help us with some at-work Bands of Mourning conversation: what is the intended pronunciation of "Marasi"?
MAHR-uh-see
Will there ever be Mistborn video game?
We tried very hard to make a video game and the company that was making it eventually went out of business and couldn't make it. So we don't have plans right now but we will try again.
The metals used in Allomancy are they naturally occurring on Roshar?
They do.
And all the alloys as well?
Yes, the magics would...oh, all the alloys in Roshar naturally occurring… The magic of Mistborn is related to the actual metals' structure being the key. So, you can use metals from other worlds, there's no actual power in the metal. The metal is like a password.
You avoided using the traditional races of epic fantasy (elves, orcs, dwarves, etc.) instead giving the reader variations on humanity. Why did you avoid using the standard tropes, but still create significant physical deviations in your races?
A couple of reasons. Those are really two questions. Why did I avoid the standard tropes? Because I felt they had become a crutch in some cases, and in other cases they had just been overplayed and overdone by people who were very good writers and knew what they were doing. I certainly don't want to point any fingers at people like Stephen Donaldson who wrote brilliant books making use of some of the familiar tropes from Tolkien, but one of the things to remember is that when he did that they weren't familiar tropes. They were still fresh and new. The same can be said for Terry Brooks. I feel that some of these authors who came before did a fantastic job of approaching those races, and I also feel that we as a fantasy community have allowed Tolkien's worldbuilding to become too much of a crutch—in particular, Tolkien's storytelling in epic fantasy. And really, if we want to approach the heights of great storytelling and take it a few more steps so that we don't just copy what Tolkien did, we do what Tolkien did, which is look to the lore ourselves and build our own extrapolations.
But personally, why do I include the races that I include? I'm just looking for interesting things that complement the story that I'm telling. The races in The Way of Kings come directly into the story and the mystery of what's happened before. If you pay close attention to what the races are, it tells you something about what's going to happen in the future and what's happened in the past. It's very conscious. This is just me trying to explore. I feel that epic fantasy as a genre has not yet hit its golden age yet. If you look at science fiction as a genre, science fiction very quickly got into extrapolating very interesting and different sorts of things. Fantasy, particularly in the late '90s, feels like it hit a bit of a rut where the same old things were happening again and again. We saw the same stories being told, we saw the same races show up, we saw variations only in the names for those races. For me as a reader, it was a little bit frustrating because I read this and felt that fantasy should be the genre that should be able to do anything. It should be the most imaginative genre. It should not be the genre where you expect the same stories and the same creatures. This is playing into what I like as a reader and my own personal philosophies and hobby horses, but it really just comes down to what I think makes the best story.
So this morning I just finished reading The Rithmatist. I was wondering if you could talk about your process of creating that magic system. Specifically about how it dealt with mathematics. And also if it is going to have a sequel.
This has a fun history in that it is the last book I completed before the Wheel of Time hit me like a freight train. I was working on a different book, you can find the sample chapters of that one on my website, its called the Liar of Partinel and it really was not going well. I have talked about this before, I talked about it in my essay that I posted on my blog when I released the Rithmatist. But things were just going poorly and I actually stopped writing that book and wrote the Rithmatist instead. This book that I didn’t have a contract for, that no one was expecting. Sometimes it is very liberating to do that. When you see these side projects, like last year, Emperor’s Soul and Legion and things like the Rithmatist, it’s me saying “Okay, I really love the big epic fantasies, it’s what I came in to do. But sometimes how complex they are and how much work they are, between them you need a break.”
The Rithmatist was a break and I had been toying with this magic system where—And I don’t even really know what started it but I wanted to do a magic where you dueled with chalk. Where you would take chalk and you would draw things and you would have a duel with someone else using chalk. I wanted two-dimensional things playing out. I guess it maybe comes from me being a gamer and me wanting to- There’s so many things that we take from the modern day and we twist them and make a fantasy world out of them. Its where Steampunk came from. Let’s take modern technology but let’s build it with an ancient- or an older technology and see what cool stuff we can do. Airships with steam, and robots with clockwork. Gearpunk and things like that. And so I was like, let’s build video games with magical chalk.
Really the magic system is, you draw a circle around yourself and you basically then play Starcraft. You draw little units and you send them over to try and break their defense—it’s more like Tower Defense honestly, like versus Tower Defense. Where you try to break through your opponent’s circle, when one of your beasties gets through the circle you have won the duel; and you can shoot off different lines of chalk that do things and stuff like that. Where this came from was just that sort of thing, all of my- One of the things that drive me to write is that “one foot in science and one foot in magic” and you can see that. When I described this magic system here I’m taking all these sort of disease concepts and the modern germ theory and all this stuff and I’m saying “let’s mix that with magic and see what we can come up with.” Mistborn was like “one foot in alchemy and one foot in vector physics” and things like that. This just gets me excited.
There was an era in our world where science was this awesome, almost magical thing. If you read back about the turn of the century, 1800’s to 1900’s you’ll find essays where people were researching- new scientific discoveries were happening all the time and everyone was so excited about them. I remember reading this essay, I’ve told this story before, someone wrote an essay in like 1910 where they went and they interviewed a bunch of ditch-diggers and they studied the Science of Ditch-Digging and they went and they told all these ditch-diggers what they learned and helped them be more efficient in digging ditches and suddenly science was for everyone. It was for the ditch-diggers- Who knew what else we could discover. And then we basically blew ourselves up and ever since then we’ve been scared of it and that’s when we got the science as an antagonist sort of thing that happened in the 50’s and 60’s in science fiction. It’s a wonderful era, and things like that. In my writing I always find that time when science was something that was for the common man that we were discovering, that there was this sense of wonder to science, it’s really fascinating to me. And I find myself returning to that time and time again, and that’s where you see this. In this one, with The Rithmatist, it’s honestly a little more lighthearted even though the prologue is someone getting attacked by these chalk monsters. The concept is more lighthearted, it’s blending teenagers playing games with magic and where would that go and what could I do with it. I did go to mathematics because I wanted the idea around all of this to have structure and rules; and I liked the idea of using “the more perfect your circle is the stronger it is, the more stable it is against someone trying to break through it.” So I started looking into the interesting properties, mathematically, of circles, and what creates-. What they do with arithmetic. And that sent me off on this whole thing where I drew all these cool whatchamadinkies and stuff like that. That’s where it came from, that’s a long explanation for a simple question.