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JoyBlu

Do you have a pronunciation guide anywhere?

Brandon Sanderson

So, we need to put one of these up. I put one up for Elantris. The trick with pronunciation guides is that, personally, I am kind of a believer in that I write a script where you are the director. You get the script I've provided, and then as you read the story, you are creating the actual final detail of how everything looks and osunds and stuff. And so, in your head, your version of the character names are canon to you, and there is no right pronunciation, really. I can give you the one that I thin is closest to how they would say it in-world, but I don't even always say them right. For instance, I just said Tashikk for the country in the Makabaki region when I was reading the Lift thing. But that's actually the Arab ق (IPA: /q/) sound, I can't even do it, it's the double-q. I can't say that. *Brandon tries to say taʃiq* Peter can do it, my editorial assistant, he's not here, but he can do it. I can't. I say them like an American. I say "KELsier" (ˈkɛlsiər). They say "kelsiEY" (ˈkɛlsiˌei). So, is my version right? My version is wrong, but it's right to me? So, yeah. But if there's a character name you want to know how I say it, I can tell you. Is there one specifically?

Questioner

Shallan?

Brandon Sanderson

I say shuLAWN (ʃəˈlɔn). But, again, none of us are actually Veden like her, so who knows how they say it? They would have some accent that would be something that I can't even do.

Questioner

What's Sazed? How do you say that?

Brandon Sanderson

Oh, Saze? So, I say say-zed (seizɜd). But I say that, and that's how Kelsier says it. Sazed himself is from the Terris region, he's gonna have a slightly different pronunciation. I would say that say-zed is not how he says it. It's gonna be either sawzd (sɔzd) or, it's gonna be something softer like that. I just say it like Kelsier does. But he says it wrong, depending on your definition of wrong.

Brandon Sanderson

Chapter Thirteen

Timing of This Chapter

My editor threw me a little curveball in the last edit for this book by asking me if I could move the first Vivenna chapter (the previous one) up a few spots so that she was introduced earlier in the book.

This presented a problem, since I had her arriving, meeting the mercenaries, going to Lemex, then going to see Siri all in the same day. (Though across three chapters.) That meant that I had to move two chapters forward, then, since I didn't want to break with the mercenaries telling her that they were there to kill her. I wanted to go directly to the next scene with her.

It took a lot of juggling. One of the revisions I had to make was to move this third chapter a day later in the process. She had to arrive, fall asleep, then get up the next morning and have a conversation about giving the Breaths away. Then she had to go see Siri that same day.

I still worry that this jumble caused timing issues. I think I caught them all, but I worry that at one point Lightsong says, "The presentation of the queen is two days away," then we have Vivenna arrive that same day, then fall asleep and go see Siri the next day. If that's the case, then the explanation is—unfortunately—that the chapters aren't happening quite in chronological order.

Usually, I try to make my chapters all chronological, even across different viewpoints. But once in a while, the story is better if they aren't. The distinction is very hard to pick up. But I think it may happen here. (Note that a lot of authors, like Robert Jordan, don't strive for chronology—they like it better if the chapters are out of order a little. In a Robert Jordan book, for instance, we'll often have characters doing things in one chapter, then jump to other characters doing things a few weeks earlier. The chapters are always chronological by viewpoint, but the viewpoints can be off from one another. In fact, he plays with this concept a lot, setting book ten mostly back during the same time as book nine.)

Dreamer129

Are there any useful exercises you could give to a writer who's trying to improve their technique? I've heard the one about four different people describing the same place, but I was wondering if you had any other good ones.

Brandon Sanderson

Try to describe an extended scene, with various things happening, four different times, once with a focus on visuals, once on scents, once using touch, once using sounds. See if you can evoke a different feel each time, using the same scene but different senses.

Practice both discovery writing and outline writing. Meaning, practice writing stories where you just go off on whatever strikes you, and practice writing a story where you spend a lot of time on an outline. Try to figure out which method works best for you when trying a specific type of story, and perhaps try some hybrids. Anything that helps you write better stories more regularly is a tool to keep practicing.

Try a dialogue scene, where you try to evoke character and setting using ONLY dialogue. No descriptions allowed. (This is best when you're focused on making the characters each distinct simply through how they talk.)

Finally, listen to Writing Excuses. ;)

Arthrine

I remember reading some time ago that a fan told you about a dream of hers to be a minor character in one of your books, and that you fulfilled this dream for her.

Any chance of you doing a raffle on /r/fantasy, and letting the winner get the same opportunity?

Brandon Sanderson

I should totally do this. In the past, I've done it for charity, so maybe during a drive for Worldbuilders?

The character, by the way, is Lyn the scout from Words of Radiance.

claytonphillips

Several times in Way of Kings, you have characters think of the Shin as having big or round eyes. Do the Shin really have giant eyes, or do all the other peoples of Roshar have an epicanthic fold on their eyes?

It seemed to me that this was very similar to how characters in second world fantasies, like Faile in Wheel of Time, are designated as "Asian" even though there is no Asia in the book. Is this a subversion of that? Are the Shin the only people on Roshar who look Western European?

Brandon Sanderson

You are right, actually. Normal eyes on Roshar are those with an epicanthic fold. The Shin do not have this. Note, however, that they wouldn't look "Western European." Roshar races are fairly far off from what we imagine as Earth ones. The people most likely to look Western European to you would be those from Mistborn.

Questioner

In The Stormlight Archive there are characters with names that are different from characters they are in the other Cosmere books, and I'm wondering if there is either a place that has a "this is this person" or if there are like clues that we could watch for.

Brandon Sanderson

People have different names, they're using aliases in various parts of the Cosmere and things like this. The only thing I can point you toward are the fan wikis and fan forums which you probably already know about, the 17th Shard being the biggest of those. I am not revealing who the people are, but theories are on those websites and I have confirmed a few of them.

Questioner

Have you ever read a book that has made you cried? Or made you so frustrated that you wanted to throw the book?

Brandon Sanderson

It's not that hard to make me emotional in a book. I'm normally a very even-keeled guy, but a really great story told really well can really get to me. It's part of why I wanted to be a writer. I've got a very even temperament. I wake up most days, just kinda feeling the same I did the day before. So, if there's, like, bipolar or things like this, I'm like the opposite. I'm, like, if you vary, like, people vary from a 0 and a 100, I'm, like, at a 75 all the time. Which can be really cool, except when everyone else is, like, super excited, and they all go to, like, 90 and 100, and I'm like, "Yay? That's cool. I'm happy too!" But a good story, that gets me, right? That can really get me. So, a lot of my favorite stories-- Anne McCaffrey was really good at doing this for me. But Terry Pratchett, right? They're comedies? If I mention that I like something, it's probably stirred powerful emotions in me.

What have I wanted to throw across the room? I'm sorry, I know that some of you really like this, but-- and I'm sure they're really good books if you're in the right mindset, but-- this is gonna date me a little. There was a sequel series to the Willow movie, which was written. And Chris Claremont is a great writer, right? I think this is the X-Men Chris Claremont. I don't blame Chris. [George] Lucas was involved. Strike that from the record. But I loved Willow. When I was a kid, I'm like, "A fantasy movie that doesn't suck! Yes! Nothing against you Beastmaster, but, you know, a fantasy movie that doesn't suck, and Warwick Davis was awesome, I love that movie!" And then the books came out, and in the first one, you're like, "Yeah, all those people you loved? They're dead." That's how, like, the prologue goes! And the character whose life they saved in the movie, and things like that--spoilers, it's been like thirty years--is, like, a spoiled brat, and everyone's personality changed. That's probably the book I'm the most, like, throw-against-the-wall-ish. I'm like, "No, don't kill all my favorite characters!" Here's a clue for ya: if people love a whole bunch of stuff, don't start the sequel with, "Yeah, all that stuff you loved? We're just gonna..." Don't Aliens 3 your movie. Don't do that to your books. It's okay to have loss, but don't have all the people you love die in between stories. Bad idea.

Brandon Sanderson

Conclusion

So there's the backstory. Now, the question comes up, what do I think of the story itself?

Well, it's hard for me to separate the backstory and the history of the story from the text itself. For me, this story is a piece of my history with Pemberly, and is intertwined with a lot of the emotions and experiences of that crazy year from summer 2005 to summer 2006 when my first novel was released and I met and married my wife.

Looking back at this story, I think it might be a tad on the sentimental side. (How could it help but be, considering . . . ?) I'm bringing a lot from my own experiences to the characters, and Dashe and Matisse became full and real people to me. However, I'm not certain I justify their relationship and the characters enough to earn the emotion of the short story.

I hope that it doesn’t come off as too melodramatic. (Read outside the context of the Elantris novel, I think that it might.) I wrote it quickly, and I'm afraid it's not as polished or as intricate as I might have otherwise been able to make it. I realize it's not the finest piece of work I've done, and I certainly wouldn't suggest it to anyone who hasn't read Elantris itself, as the story doesn't work at all (emotionally or plotwise) if you aren't familiar with the novel. I also think it's not a good introduction to my work.

But for what the story is, I'm quite pleased with it.

Thanks for reading!

king of nowhere (paraphrased)

The lord ruler moved Scadrial closer to the sun, and orbital dynamics dictate that so its time of revolution would also become shorter. how did that impact the ages of the characters, and how did it impact the 1024 years of refilling of the well?

Brandon Sanderson (paraphrased)

He said that Arcanum unbounded will contain all the calendars and that peter made actual orbital calculations. Brandon also confirmed that the characters ages were really earth ages, and that the lord ruler kept the old calendar in the final empire, even though it did not fit with the length of the year. That sounded very strange to me, but then I remembered that we already have the Islamic calendar who doesn't follow the year, so a calendar not coinciding with the year is something never seen before. he also confirmed that modern Scadrial has an earth-like year duration, which we already knew. he said that people only started asking that in the last year and he was surprised it took that long to ask about that.

Questioner

Can I get the Hoid sense of humor question real quick?

Brandon Sanderson

Yeah, where'd he get his sense of humor?

Questioner

Yeah, because he doesn't really have one in like Mistborn.

Brandon Sanderson

You will find that eventually. It depends on the character he's playing. He had it in Mistborn, he just was not playing a character that was conducive to that.

Questioner

Fair enough, 'cause he's very different in--

Brandon Sanderson

Yeah. In Elantris too.

Brandon Sanderson

Title Page - Part One

All right, first annotation! About the title page.

I'm generally just going to call this book Mistborn, though the entire series is the "Mistborn Trilogy." Technically, this book is Mistborn: The Final Empire. The second book is Mistborn: The Well of Ascension, and the third book is Mistborn: The Hero of Ages.

There’s an interesting story behind this title. As some of you may know, I spent a number of years trying to get published, writing books all the while. My first five books are what I call the "throwaway books." Those were ones I did mostly as practice, figuring out how to do the whole novel-writing thing. Book six was Elantris, which was published in May of 2005; it was the first book I managed to sell.

However, while I was trying to get Elantris published, I wrote a number of other books. The three after Elantris were big epic fantasy books, much like it in style. After that, I decided that I was writing things that were too big–that no publisher was going to take a huge epic fantasy book from an unknown author. (Though that's eventually what happened. . . .)

Anyway, I decided to try writing some shorter (i.e. only about 125,000 words instead of 250,000 words) fantasy novels. The first of these was what I now call Mistborn Prime. It was the story of a man who was a "Mistborn" (a kind of super-powerful assassin) who gets trapped in a small village with people hunting him, and has to try and blend in with the population there.

Mistborn was a different book for me in many ways. It was shorter, for one thing, and it was also about a kind of anti-hero. It only had one viewpoint character, and the plot was much smaller in scope than my other books. It was successful in some ways, but a failure in others. The magic system I developed for it–Allomancy–was quite spectacular, as were the action sequences. The character, however, didn't appeal to many readers. And, the plot was just a little. . .uninspiring. I'm really better when I have more to deal with.

As you can probably tell, this book–which was unpublishable–became the inspiration for the book I eventually wrote named Mistborn: The Final Empire. We'll cover that second part in the next annotation.

Questioner

Do you have particular Inspirations from classics that you brought in your books? I felt like Dalinar was heavily influenced by Constantine.

Brandon Sanderson

Well, I did have a degree in English, and so I read lots of stuff, but my favorite classics are Moby Dick, Les Miserables, and depending on the day one of the Jane Austen books, it changes. And so those are definite influences. You can probably see some Les Mis influence, a lot of it, in the Mistborn books. There were several places where I kind of consciously let myself be influenced there. I wouldn’t say that Dalinar though. The thing is, I started writing Dalinar when I was 15. He was my first character. In fact, I posted at Tor.com when Way of Kings came out a page from my very first novel that I tried to write when I was 14, and it was really really bad, and it has Dalinar in it. He is one of the few characters that survived through all these years from maturing, growing, and things like this. The story of the brother of the king who dies, and the brother must decide: does he take control, or does he let his nephew take control. So a lot of things have influenced Dalinar, but I can’t point to one specific thing.

Questioner

Who was your favorite character to write?

Brandon Sanderson

It was definitely the character named M-Bot, whom you haven't met yet. :)

ChocolateRob

There’s a character again that you've talked about in other signings-- That character has more information than Hoid about the cosmere. How does she have more information than Hoid?

Brandon Sanderson

Well, she is a very detail oriented person and takes the time to research very deeply into things. Where Hoid will often research enough as he needs to know to sound really smart and get what he wants. It is a matter of depth, if that makes sense.

ChocolateRob

Have we seen her?

Brandon Sanderson

Uhh, I don't know if you've seen her or not. I'm sure I slipped her in somewhere but I'm not sure... I think I may have, but I can't guarantee it.

Brandon Sanderson

Dinner conversation with Marasi

This is probably a good point to talk about Marasi too. She's a little more simple than Steris, but also more innately likable.

Marasi represents me playing with concepts of how to make strong female characters. I'm well aware that in fiction, one of the most simple ways to make someone strong—male or female—is to make them capable in combat. Whether it's Vin or Kaladin, being able to kick butt and take names on a battlefield leads to a powerful sense of competence and self-confidence. It's only one side to those characters, of course, but it's an important side.

It shouldn't be the only way to be strong, however. Though I'm very pleased with Vin's ability to be both feminine and combat-savvy, I don't want to fall into the trap of implying that only those who can lay waste to their enemies are strong. I have conversations about this in The Way of Kings, but this story felt like a place to put some of it into practice.

I'm curious to see what people think of Marasi. I gave myself a challenge with her—create a female lead who is also very young and inexperienced, prone to blushing, and has no interest whatsoever in picking up a gun. I hope that she ends up interesting in her own right.

Brandon Sanderson

Title Page

You'd be surprised how much can be said about the title of this book. Naming books is one of the most frustrating, and most fulfilling, elements of writing. I'm more fortunate than some authors I know–for most of my books, the names came easily. Sometimes, I even came up with the title before I wrote the book. (This has actually only happened once, when thought up the phrase "The Way of Kings," and thought "Man! That would be a great title for a book!")

Elantris has had several titles. During the rough draft phase, I simply called it "SPIRIT." I knew that the main character's name would be based on the character for Spirit, and that would also be the name he took for himself when he was in exile. I never intended this to be the final title for the manuscript, but it was what I named all the files when I was typing the work.

Those of you who've read the book realize the special significance of "Spirit" (or Aon Rao as it eventually became known) to the climax of the story. I'll talk more about this in a bit.

Well, as I was writing the story, I realized I needed a better title. The most obvious choice was to somehow work in the name of the fallen magical city that was the focus of the book. Now, I'm a little embarrassed to admit this, but the city "Elantris" was actually originally named "Adonis." I'm not sure what I was thinking. Sometimes, when you're coming up with a lot of fantastical names, you create words that have a certain, unforeseen connotations or connections. In this case, I wasn't even thinking of the Greek myth. "Ado" was simply the Aon I chose to base the city’s name around, and "Adonis" (Pronounced with a long "A" and a long "O") was the word that came out of that Aon.

So, I named the book The Spirit of Adonis, hoping to play off of Raoden's name.

It was, however, actually a three-fold pun. I included this line–"The Spirit of Adonis" at the climax, when Raoden realizes that the city itself formed an enormous Aon Rao.

I didn't realize what I'd done until my writing group met for the first time, and they said "I like the beginning of the book. I'm having trouble figuring out what this has to do with the Greeks. Is it because the god-like people were so arrogant?"

Then it hit me. Adonis, from Greek mythology, was a beautiful man loved by Aphrodite. The word has become a kind of paradigm for a beautiful–almost perfect–specimen of the male species. And I had unwittingly named my book after him.

Let's just say I changed that pretty quickly. However, I needed a new name for the city. I played with a number of different combinations of Ado, but somehow ended up trying up different sounds and combinations. Thankfully, I came up with the word "Elantris." As soon as I wrote it down, I knew this was my city. It sounded grand without being overbearing, and it had a mythological feel to it (hearkening slightly to "Atlantis".) I renamed the book "The Spirit of Elantris," and proceeded.</p>

Then came time to send out the manuscript. I had had some comments on the book–people liked "Elantris," but the "spirit of" was less popular. I tried several iterations, and even sent out some query letters calling the book "THE LORDS OF ELANTRIS." That just felt too cliché fantasy for me, however, and I eventually returned to "The Spirit of Elantris."

Finally, the book got sold. At this point, my editor (Moshe Feder) suggested that we shorten the title to simply Elantris. Remembering how other people had been unimpressed with the "spirit of," I agreed. Now that I've seen the cover lettering and worked with it as "Elantris" for some time, I'm very pleased with the change. The new title has more zip, and makes the book sound more majestic. I still get to have a reference to my old title, as Part Three of the book is called "The Spirit of Elantris."

Of course, even this title isn't without its problems. People have trouble spelling it when I say the title, and some think of the car named the "Elantra." At one panel, I even had one person miss-hear me, thinking the name of the book was "The Laundress." That would certainly be a different book...

zxg15 (paraphrased)

I asked him for more info on what he meant when he said that Stormlight will be organized as two 5 book series within the total 10 books.

Brandon Sanderson (paraphrased)

Understandably he didn't want to give much away, he wouldn't say if there would be a time skip or not. He did tell me that there would be a large change in tone between books 1-5 and 6-10. Also, he said that since book 2 is now going to be Shallan's, he wants Dalinar's book to be number 5. He then talked about how the 5 characters that were introduced in depth in WoK would be the the 5 flashback characters for the first 5 books and the others would be more focused on in the final 5 books.

link6112

Where would you place Hoid on this scale: http://i.imgur.com/z9fwRP2.jpg

If you have time, where would you place the other characters of your books on this?

Brandon Sanderson

Though I do like the D&D system conceptually--I think it leads to interesting discussions--one of the problems is that by putting a character into it, I would be making a value judgement upon their actions. Here's what I can say: If you asked Hoid himself, he'd probably say he was Neutral Good. The Sixteenth shard would argue that he's Chaotic Neutral. Frost would rationally argue him to be Chaotic Good, but there are those who even claim his motives far too selfish to be anywhere near "good," and probably deem him something akin to Neutral Evil.

WeiryWriter

Sixteenth Shard? Is this just a typo or a really stealthy dispensation of information?

Brandon Sanderson

Sorry. Just a typo.

Questioner

Which character was the hardest to write and to which one do you relate the most?

Brandon Sanderson

They're the same person. There's a character named Jorgen who was both the hardest to get right, but also the most like me, which may sound a bit odd!

Mason Wheeler

How do you write Wayne? The guy is a little bit crazy, but when you see things from his perspective it makes sense. How do you get in that headspace to write that?

Brandon Sanderson

I put on his hat. Well it’s--characters are so hard for me to define how I do them. Everything else I can define, right? I can talk about it. With character I write their viewpoint and see if I get to know them, and if I do I’ve just got it. That’s all I can say.

Brandon Sanderson

Chapter Nineteen

Clod Arrives with Jewels

Early on in the development process, I knew that I wanted to have a Lifeless as a side character. They're such an interesting part of the world—in fact, they're a big part of the foundation of the setting, or at least what made me want to write it.

That meant having a Lifeless on Denth's team, and Clod as a character fit into place quite easily. I had worried about how to make Jewels distinctive in the team, after having Denth and Tonk Fah establish themselves for some twenty chapters before Jewels even makes an appearance. Working with that, I realized that by making her the Lifeless handler, I could add something unique to her—and to the team.

Denth knew that Vivenna wouldn't react well to there being a Lifeless on the team. That's part of why he kept Jewels away for so long. (In fact, when Jewels says, "Who's that woman?" in regards to Vivenna, it should have been slightly suspicious to you. She knew they had a new employer, and she should have made the connection. Indeed, she did. Denth had specifically ordered her to stay away until this moment, as he didn't want to scare Vivenna off.)

Questioner

You know how usually you read a good book and it will change your perspective on some aspect of life, do you ever finish writing a book yourself and-- From your own writings do you ever "Ah I've never..."

Brandon Sanderson

It's usually the research I do. Like when I'm like "I need to get in the mindset of this type of person" and I go read about it. I see the world in a different way after I become immersed in that.

Questioner

So what character have you written that was the hardest to imagine or get into?

Brandon Sanderson

Jasnah was very hard originally, and that took a lot of research into the mindset of people who think differently from myself. In The Wheel of Time books Aviendha and Tuon are both very different cultures so getting into those.

Questioner

How was it writing Mat? Was it pretty easy or--

Brandon Sanderson

No, Mat blindsided me. Mat I thought would be easy because Perrin and Rand were and I grew up with Mat, Perrin, and Rand, right? But the thing is Mat is a really hard character to write, meaning actual-- you look at him, he says one thing, he does a second thing, but he thinks a third thing. And so there is a lot of contrast to him and I just started writing him naturally and I wasn't getting all of that contrast because I was like "Oh I know who Mat is. Mat's my--" But he was saying the things that he never said, if that makes sense? I got his actions right but I flipped what he said and what he thought. It was actually really hard to get him down.

Questioner

You mean how he would say that he was going to avoid trouble and then run straight into it?

Brandon Sanderson

Yes, it's like "I'm going to avoid trouble", he runs into trouble, and he's thinking all the way about something completely separate, and then something else leaves his mouth.

zas678

A little safer question- Why did you not have Waxillium fall for Marasi? Why stick with the contract with Steris?

Brandon Sanderson

Marasi, as she was in Alloy of Law, was just plain wrong for Wax. As I write books, I allow my characters to grow more free-form (while my setting and plot are outlined in detail.) In writing the book, I felt that a Marasi hook-up at the end would not only be wrong for the character, but wrong for the story. If I do direct sequels (which I probably will) perhaps things will change.

Questioner

I read the earlier version of The Way of Kings. When did Kaladin get depressed?

Brandon Sanderson

That was when I realized he was the main character and the least-- the least a character, right? And so, it was when I sat down and asked myself, what went wrong with it? And the main thing of the things I came up was that Kaladin wasn't real. And so I started looking at what would make him real. And depression doesn't make more real, but it's an outgrowth of him making the other decision, what happened with his brother, he had PTSD, and all of this stuff. It grew out of that.

Questioner

I wondered if it's difficult for you sometimes-- it seems like you try to keep your writing PG. Is that ever hard like to still do the character development?

Brandon Sanderson

You know it hasn't. It's just how I naturally write. It's not ever really been a struggle either direction. I write what feels natural. And so sometimes it strays into PG-13 because that's appropriate for the character. Sometimes it goes the other direction. I just do what feels right to me, knowing that I'm a bit of a prude. And so my own attitudes certainly do shape it.

Questioner

Are there going to be other characters other than Hoid that will be crossing over between books?

Brandon Sanderson

Yes, in fact there are characters in the way of kings... I told people that there is a Terriswoman in Warbreaker somewhere, I believe that would be somewhat hard to spot. That one, I don't think you will be able to pick out until you see her later on and then go back and say 'wait a minute'.

Brandon Sanderson

Chapter Twenty

Bluefingers Warns Siri Outside the God King's Chamber

I'll admit that many of Siri's thoughts here are complaints I myself have. She wonders why Bluefingers had to be so cryptic. It's a weak literary device, in my opinion, always having people with knowledge tease with it but never give the full truth. I hate it when I read stories where characters withhold information just because it needs to be withheld in the book.

At the same time, the only way to have a mystery is for there to be things the characters don't know. There can be legitimate reasons why someone doesn't want to speak or share what they know. In my books, I want those reasons to be good ones—which is why in the Alcatraz books, I never have the adults refrain from giving Alcatraz information just because of his age.

In this case, Bluefingers has very, very good reasons for what he does. I hope that it doesn't feel contrived for him not to speak further here.

Pagerunner

Do you have a working title for Stormlight Four? Have you chosen the interlude character yet?

Brandon Sanderson

Interlude character is Eshonai. I've had several working titles over the years, but one that stuck around a while was The Song of Changes. I'm unlikely to keep this, as it was never meant to be a final title.

Pagerunner

Interludes are Eshonai again? Like in WoR?

Brandon Sanderson

Sorry, I was getting my lines crossed. Flashbacks are Eshonai--the interludes are not something I've announced right now.

Questioner

Who's your favorite, and who do you think has the most of your own personality?

Brandon Sanderson

You know, every character I write is part me, and part not-me. So I'm not sure if there's really a Brandon stand-in. Alcatraz is *inaudible*, my mom says. So, perhaps that. I feel a real kinship with Sazed. But every character is a mix between me and not-me.

Questioner

When people ask you who your favorite character is, you say they're all your children. And I always have the same thought: even Amaram?

Brandon Sanderson

Well, let's say, my favorites are all of the viewpoint characters who are not slimeballs... Yeah, he's definitely one of the exceptions to that.

Questioner

What other exceptions?

Brandon Sanderson

Oh, I don't know. I'd have to think about it.

Brandon Sanderson

Chapter Thirty-Seven - Part Three

The following is a journal entry I wrote regarding this chapter three years ago. It's kind of fun that I finished it almost three years to the day from when I'm posting the annotation.

Chapter Thirty-Seven

Finished 5-22-04

Okay, so Vin's running around in her skivvies again. There are a couple of legitimate reasons for this. First off, I figured that if I had an Allomancer captured, the first thing I would do would be to strip them completely. A little bit of metal can go a long way, and you don't want to miss any. Now, this isn't as big a deal for the Inquisitors, who can use Allomancy themselves to see sources of metal a person might be hiding on their body. However, I still think it would be standard procedure to take away the prisoner's clothing. I toyed–briefly–with having Vin be naked in this chapter. I decided I just didn't want to deal with that. Having an adult man get stripped and thrown in a cell is a bit different from doing the same thing to a young girl, I think.

So, this chapter is Vin's character climax. Here's where she finally realizes that part of trusting people is being trustworthy yourself–or, more importantly, part of not being abandoned is not abandoning your friends. Her choosing to stay with Sazed, followed by Elend's appearance, are very important events for Vin. Her decision is a fulfillment of her story-long character arc, which has transformed her form a jumpy, frightened, untrusting person into one that would stay behind with a friend she loves, even though she knows that she might be killed. Her reward, then, for this bravery is Elend's return–and the realization that there are people out there who love her enough to risk their lives for her. Her statement "You came back" to Elend is perhaps the most important line Vin gets to say in the book.

Her decision to go and fight the Lord Ruler is secondary to these things, I think–which is probably why this decision doesn't seem quite as well-founded as her decision to stay with Sazed. Still, the story has been pushing for a face-off between her and the Lord Ruler ever since Kelsier died, so I think that it works narratively.

I really want to get that final chapter written, but I have writing group in an hour, and I still haven't read one of the submissions. It looks like Vin & co. are going to have to wait until Monday to have their final climax. I don't expect it to be a long chapter–which is good, since I REALLY need to get to work on the Elantris rewrite. . . .

Brandon Sanderson

I've spoken earlier about how fantasy books tend to place modern-like characters in more archaic settings. The seons in this book are one of my rationalizations for the way that people act. I believe that a lot of our civility and maturity as a global culture comes from our ability to communicate quickly and effectively with one another.

Instantaneous communication changes the world. It makes countries seem less distant, and it allows for faster resolution of problems. Often times, when I'm creating a magic system, this idea is one of the first that I consider. Can this magic provide for instant communication or travel? If it can, I can use that to shrink the world, allowing me to place characters in more distant settings and still have them tied to the plot. (This isn't something I have to do often in this particular book. However, the ability to communicate with Wyrn and Sarene's father does have the effect of shrinking the world, making it easier to plot such drastic events in such a short period of time.)

platysaur

Well Mr. Sanderson, I finally finished Words of Radiance as well. I thank you for answering previous questions of mine on this thread.

I didn't read Warbreaker but I intend to. That said, if I don't get to it (college is quickly approaching now), will it be a setback? I know that Szeth's sword is now a character from Warbreaker, but I don't want to be at a disadvantage if I can't get to it.

Brandon Sanderson

If you don't read Warbreaker, I doubt you'll be confused. I wrote Warbreaker as a prequel novel (after writing the original draft of The Way of Kings) to give some backstory to side characters I knew where cosmere-aware, but the story should work just fine without having read it.

fireflambe

This is a slightly old comment, but is the Marvel Cinematic Universe similar to what you envision happening with the cosmere movies? The moment that was announced the first thing I thought of was how great it would be if it followed the MCU formula.

Brandon Sanderson

Well, and its popularity is part of why I think the film companies were suddenly interested in things like the cosmere. I'd like to think I presaged the MCU with what I was doing--but the truth is that Marvel and DC had been doing crossovers before I was born, so...

Anyway, I've been trying to warn readers because many are starting to wonder things like you are. Is this like the MCU? Well, it is, and it isn't. The goal of the cosmere is to take individual fantasy worlds, then--over generations--tell an expansive story about their interactions one with another.

I'm not pointing toward an Avengers style, "Your favorite characters all team up" story. The magics will interact, as will the worlds, and even some of the characters--but the story is not about a super-team.

WhatWasThatHowl

Hail Brandon Sanderson, Master Worldsmith

That's the nature of my question, I'm not quite sure how to make it broad enough, but just how did you birth Roshar? Let alone the entire Cosmere? I find it too easy to view the worlds I've built in my own writing as silly or contrived. Do you see yours in dreams or did you construct yours? Please, I would be personally grateful for the backstory on how these places were forged.

Brandon Sanderson

Building these worlds was a long, long process. Most of that process, however, was in building myself--creating a practiced writer who had build enough worlds that he got an instinct for what created good conflicts and settings, and what did not. So the best thing you can do is keep practicing and writing.

In more specifics, Roshar's origin was in studying the great storm of Jupiter. I went with the idea of a constant, traveling storm, then tried to build the ecology off of that idea. From there, I asked myself how this affected sapient beings, and how I could use the storms to shape culture, and how the characters I was planning to use could interact with it.

Most of this comes down to instinct now, though. Keep writing, and don't stress too much about whether you are silly or contrived. We all feel that way at some point. Put characters into the worlds we care about, and let the rest sort itself out.

Questioner

How do I decide whether to do first person, or third person?

Brandon Sanderson

Good question! If you're a writer, one thing I'll mention to you if you haven't watched them, I recorded my BYU university lectures, which are on writing science fiction fantasy, and put them on Youtube. So if you just Google "Sanderson lectures," you'll find my whole class there, and I do a whole section on first and third person.

It breaks down to a couple of decisions. Third person tends to be really good with a large cast. Because you can take this large cast and you are constantly mentioning their name. It's actually a pretty big deal. First person... How often do you guys finish a first person book and you can't remember what the character's name was? You've read a whole book about them. And if you have three or four characters, jumping between, it gets real easy to lose perspective. And first person also, depending on how you do it, can sometimes lack a little bit of immediacy. Because the person themselves is telling the story, there's a part of your brain that says, "Well, they obviously survived long enough to tell me their story." Even if they're telling it in present tense, or even if you know that occasionally you'll read a first person book where it turns out they were a ghost all along or something like that. Like, that happens. But there's just this sort of thing in our brain that says, first person tends to work really well for a single narrator, maybe two, in a story that they are telling yourself that they can infuse with their voice. Third person tends to work very well for longer epics, and tends to work with multiple viewpoints a little bit better. It's just easier for readers to track and things like that. Partially it's just kind of a gut instinct, what feels right for the book.

Gwenda Bond

Lies of the Beholder finds Stephen Leeds in a more precarious place—psychologically and otherwise—than we've ever seen him. What are the challenges of writing a character like this with so many aspects? Was this a difficult story to write?

Brandon Sanderson

This was a very difficult story to write, but not because of all the aspects. They've always made the story easier, not harder. Being able to take an individual's personality and split it into various themes and ideas...well, that was fun, and helped me understand him a great deal.

The challenge of this story was finding myself wanting to explore the more philosophical and conceptual side of what it means to be Stephen Leeds—and why I related to him specifically as a character. I had to decide if I wanted this ending to be like the other two novellas—pretty straightforward detective mysteries—or if I'd let myself go off into something more conceptual.

In the end, I went more conceptual, which I felt was appropriate to ending this series. However, it does mean this story was a challenge in that I was dealing with some heady themes while trying to do justice to the actual mystery. I'm not 100% sure if those two ever ended up balancing right, but I do think this was the correct way to go with the ending.

Brandon Sanderson

Chapter Fourteen

Shuden's comments on marriage early in this chapter have often earned me smiles and jibes from my friends. An author puts a little of himself into every character he crafts, and sometimes we find a particular character being our voice in one way or another. I'll admit, the way marriage is treated in this book does have a little bit of a connection to my own personal thoughts on the subject. It isn't that I'm avoiding the institution. . .I just find the formalities leading up to it to be a dreadful pain.

Questioner

After Stormlight, Wit was far and away my favorite characters. One of my friends came to me and heard I really liked Wit, and he's like, "Oh yeah. His name is Hoid, he's a worldhopper, he's in a ton of cosmere books. So I went and read a bunch of the other cosmere related books. Why's he so different? Like, in Mistborn, he shows up as a beggar/informant for half a page?

Brandon Sanderson

So there's a couple reasons for this. One is, there are certain books where he is a character and other books where I'm just writing him as a cameo. Most of the books I'm just doing a cameo for him. Stormlight's where you see the most of him until he gets his own book.

The other reason was, at the beginning, I wasn't sure how much people would be interested in behind-the-scenes stuff, and so I was very sparing with it in the early books. You won't see a lot of him until Warbreaker, and even then he's only in a chapter. Even in Wax and Wayne books, you only see glimpses of him. There will be other books he'll be a bigger part in, but if you like Wit, Stormlight's your jam.

Questioner

Based off of your previous question, the first Kaladin became Adolin?

Brandon Sanderson

Adolin was actually in that book, and so the first Kaladin wasn't even-- didn't even become Adolin, like the first Kaladin was like-- you've read this book before probably. The young peasant boy trains to be a knight, that sort of thing and was just too familiar, it was too-- I was playing the tropes and hitting the nails on the head, but in a way that was not interesting. Adolin and Renarinare both in that book basically as the people that they ended up being. Shallan and Kaladin are the people that I basically pulled out and replaced with new characters, because neither of them were working. I'll someday release that book and you can read it and be horrified about this book where really, really different things happen, and the characters half feel like themselves and half don't. Bridge Four isn't in that version of the book, Bridge Four is actually in Dragonsteel. Which is another book I wrote, which is where Dalinar started too. I wrote 13 books before I sold one. Dragonsteel was number 7 or 8. Half the ideas for the version of The Way of Kings you read came from that and half the ideas came from the original Stormlight Archive.

Brandon Sanderson

And, the body count grows. (Ha ha. One of them IS a count.)

I don't kill for shock value. I don't think that's a good reason to do much of anything. I kill characters because of consequences in the plotting. Eondel, unfortunately, was doomed the moment he decided to exact revenge on Telrii. He didn't have enough men to both get in and out of the king's chambers.

I think this is a legitimate reaction for Eondel, however, based on how his character. He was honest, straightforward, and he respected Roial a great deal. He knew that Raoden would never condone an attack like this, but he also thought that it would be best for the country if he killed Telrii. So, he went and preformed his "assassination." This is supposed to be a little ironic, considering the events and decisions of the last chapter.

Brandon Sanderson

Lightsong's Climactic Scene, with His Vision of the Boat

Lightsong's vision and eventual death in this chapter are another of the big focus scenes. In fact, I'd say that this little scene here is my absolute favorite in the book. It's hard to explain why, but I get a chill whenever I read it. It's the chill of something you planned that turned out even better than you expected. (As opposed to the planning for the Siri/altar image, which turned out poorly and so had to be cut.)

I worked hard to bring this scene in my head to fruition. No other section of the book has been tweaked more in drafting—everything from changing it so Lightsong grabs the God King's hand as opposed to his foot, to reworking the imagery of the ocean. (That imagery, by the way, came from my honeymoon while standing on the cruise ship at night and staring into the churning white froth above deep black water.)

Many people on my forums called this event ahead of time—Lightsong healing the God King. I'm fine with that. It did seem like a very obvious setup. One character with powers he cannot use until healed, another with the power to heal someone one time. Sometimes it's okay to give people what they expect—particularly when the result is this scene. I hope they didn't expect it to be as powerful as it is (assuming readers like the scene as much as I do). I want this one to be very moving.

It's the final fulfillment of Lightsong's character. Note that even in the end, his sarcasm and irony come through. He told Siri not to depend on him because he would let her down. Well, Lightsong, you're a better man than you wanted us to believe. There's a reason why so many are willing to rely upon you.

Bradinator1

My question for Brandon would be:What kind of mental "retooling" does it take for him to work on an already established world/storyline like Wheel of Time since this is someone else's work?

Also, were there there a lot of notes or material left by Mr. Jordan to work from?

Brandon Sanderson

I thought about this quite a lot during the months when I was reading the Wheel of Time again straight through, trying to figure out how I would approach writing the final book. Obviously, this project wasn't going to be like anything I'd done before. I couldn't just approach it as I did one of my solo novels. And yet, it felt like trying to match Robert Jordan's style exactly would have made me lapse into parody.

A lot of the mental 'retooling' I did focused on getting inside the characters' heads. I decided that if I could make the characters sound right, the book would FEEL right, even if some of the writing itself was different. I also decided that I would adapt my style to fit the project. I became more descriptive, for one, and wrote viewpoint with the more intimate, in-head narrative style that Mr. Jordan used. Neither of these were attempts to match how he wrote exactly, but more me trying to match my style to The Wheel of Time, if that makes any sense.

In answer to the second question, he left LOTS of notes behind. He wrote complete scenes in places, dictated other scenes, left piles of notes and materials. The prologue was almost all completed by him (that will be split half in this book, half in the next.) The ending scenes were written by him as well. In the middle, there are a lot of scene outlines as well.

That's not to say there wasn't A LOT of work to do. The actual number of completed scenes was low, and in some places, there was no direction at all what to do. But his fingerprints are all over this novel. My goal was not to write a Brandon Sanderson book, but a Wheel of Time book. I want this novel (well, these three novels, now) to be his, not mine.

Questioner

You have a couple of fantastic running jokes, such as the High Imperial.

Brandon Sanderson

Yes.

Questioner

How do you think of those things and when do you decide to commit to a great joke like that?

Brandon Sanderson

When do I decide to commit to a running joke. See Spook doesn't consider that a joke, he thinks it's awesome. So with this, I love-- I'm kind of going to expand this to not just jokes-- Which, definitely-- It's the sort of insider things. I love, in series that i have read a lot of books on, when there is something you will only get if you have been invested in the series. I love this stuff. It is part of the seed of the Cosmere, this idea that if people are reading my books they will start to see and make these connections. It's important to me that it never becomes the forefront, at least until I'm very clear to people that this is-- now you have to have the background of all of the books. That hasn't happened. There will be series that I do that with but I want you to be able to read Stormlight and not feel like you have to know a thousand pages of the wiki behind-the-scenes stuff before you can appreciate it. But I do like these inside references and things like that, and so it comes very natural to me. Some of it's planned out, some of it is something that I think of as I'm working on the story. Some of it's seeded, some of it just works. So you do it as it works. I wouldn't say that I-- With like High Imperial. High Imperial I knew about the time when I decided Spook was going to be a larger character in the series. But if you know Mistborn, my original-- I wrote the first book, did a quick outline of the second two, and then wrote the second two and Spook was the big discovery written surprise. He wasn't intended to be the main character that he became in the later books. And so once he-- I was writing the third book, I'm like "Oh, I know what's going to happen here. I know where this is going." And High Imperial grew out of that.

Kogiopsis

Are we going to see Native Americans in the Rithmatist series?

Brandon Sanderson

Yes you will. The Native Americans have mostly moved to South America, but there's a Native American main character in the second book.

Kogiopsis

Yes!

Brandon Sanderson

What happened is the– a lot of them got pushed into South America, where the Aztec Empire is alive and well and strong. And so their perspective on what's going on is very different from the perspective happening in Joel's school, so you will see a different perspective on things.

Kogiopsis

Excellent.

Brandon Sanderson

It was already dangerous though, what I'm doing, and I realize this, for those very reasons. Very sensitive issues. Like when I used the Mary Rowlandson account, which is kind of a controversial account as it is, I understood that I was potentially opening a can of worms.

swamp-spirit

But I mean, I really– I just want to say this, that I really appreciate as a reader that you go into diversity because I know it is a risk, and it means so much to readers to have you writing a different set of characters and people people can relate to.

Questioner

I heard a rumor that the universes of all your books are interconnected?

Brandon Sanderson

Yes. Most of my books, not all of them. If a book mentions Earth, it is not connected to what I call the cosmere, I kind of made this decision early on. So for those of you who don't know, my epic fantasies are indeed all connected. There are characters who cross over between them. I've been planning this for twenty years so I've got this intricate thing going on. There will eventually be big crossover books but for right now I don't want people to feel like they have to read everything in order to understand what's going on, and so for right now each of the books are only cameos. But you will be able to notice characters crossing between and there will be big crossover books eventually.

Brandon Sanderson

If the number sixteen seems obvious to you, please don't blame the characters for not figuring it out. Remember, for a thousand years they've had it reinforced over and over again to them that there are only ten Allomantic metals. Sure, you've got the handy illustration in the back of the book showing you all sixteen in a circle, but the characters don't have the benefit of being able to read the novel.

flyingnomad

I just finished a reread of WOR (actually my first audiobook listen of the series, which was great), and when I reached your last three, I definitely noticed you really had a skill with shaping chapters to speed things up or slow things down. Initially it felt like you introduced more frequent shifts in main character POV instead of some of the lengthy sections with one POV that we'd seen in RJ's last few books. This made it feel like the story was coming together and things were starting to really happen at the same time. Then later it felt almost like a kind of dilation effect where a massive amount was happening at the same time - but with the added complication of the actual timeline manipulations, which was extremely well done in this regard... I was so caught up in the story I wasn't able to keep my attention on it at the time but later, after finishing AMOL, I was pondering that it felt like a Christopher Nolan movie, where the structure itself was part of the narration.

Brandon Sanderson

I've always preferred a frequent POV jump style to the large chunk style Mr. Jordan used later in his books--but there are merits to both. In the Stormlight Archive, I've been pleased with a kind of hybrid of the long chunk from the later WoT books with a quick jump method. (I pick a group of characters and quickly alternate POVs.) But I have the WoT to thank for helping me, as a younger writer, study and learn the different ways POV jumps can influence the storytelling.

Questioner

What was your favorite aspect from the Legion books to write? Who was your favorite character?

Brandon Sanderson

I would say JC was my favorite to write. I like humor. I like how unaware yet sometimes self-aware he can be. It allows me to play with character in an interesting way, so I would say him.

Brandon Sanderson

The second thing I tried writing was a short story set in the Mistborn world a few hundred years after The Hero of Ages. This one just didn’t work; the characters weren’t gripping for me. More importantly, it just didn’t FEEL like a Mistborn book. I got about one scene into it.

As I was working on it, however, I did some worldbuilding on this time period in Scadrial’s history. I got to thinking about what was wrong with the short story, and why it didn’t feel right. This grew into an outline regarding a completely different story—with no overlap of characters—set in the same time period. I nurtured this and started writing, and it felt right from the get-go. I had the right tone, so I kept writing, expanding my outline, letting the story grow as big as it wanted to be.

In the end, I had an 85,000-word novel that I named Mistborn: The Alloy of Law.