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When Hoid is playing for Kaladin, has he Awakened some part of himself to help him play?
No, he's not Awakened anything to help him play.
Did he use Allomancy?
RAFO.
I’m now extremely anxious to see the symbol for Hemalurgy.
We considered creating these but soon realized that Allomantic symbols were probably used by Hemalurgists and actually might've been Hemalurgic symbols before they were Allomantic. (See the little nails sticking through each symbol?) Feruchemy, though, needed something different.
Given the rather dark and arcane nature of Hemalurgy, it does make me wonder if Rashek simply co-opted it’s symbology for Allomancy, given the quick spread of Allomantic powers during his rise and reign and the need for classification.
That's very likely!
Will we ever see you write a series with a non-rigid magic system? Not that there's anything wrong with allomancy etc. (they're pretty cool to be honest), but I would be really interested in seeing you handle something vague.
I understand exactly what you mean, and I've played with some, but they don't work as well in the Cosmere. I think I might be able to slip one in, or, do something non-Cosmere.
Let's say Wax filled an ironmind with weight, forged it into steel, and then burned that steel with Allomancy. If there would be an effect, what would it be?
It would not have an effect in that situation, depending on what it looks like. There is a way to do this where you would end up with just a very, very mild effect. But with him... no, you couldn't even make it work. All that would happen is, you could maybe get the weight back out a little bit. But you couldn't compound it, basically. Good question. I've never been asked that one before.
You have, undoubtedly, mastered the fantasy genre. Do you ever see yourself writing science fiction?
I ask because I remember reading two or three years ago on TWG that your plan is to make the second Mistborn trilogy set in a steampunk/industrialized world and the third and final trilogy in a more sci-fi setting. So I'm just wondering if that plan still holds.
I do plan to do SF in the future. The final Mistborn trilogy will indeed be sf, with a deep understanding of Allomancy and Feruchemy having allowed them to figure out a method of FTL travel. I also have a space opera I've been wanting to write. So far, no time.
Chapter Six
The fight in the ballroom
From the early days of the Mistborn books, I'd been planning how an Allomantic gunfight would go down. I felt it the next evolution in what has been stylistically a big part of these books.
There is a fine line to walk in a lot of these sequences. I've made something of a name for myself in the fantasy world by attempting to mix some scientific reasoning with my magic systems. At the same time, Allomancy was designed precisely with action sequences in mind. I wanted them to be powerful and cinematic—and a cinematic fight sequence is often at odds with realism. (Watch two people who really know what they're doing fight with swords sometime, then watch any fight sequence in a film. Most of the time, the film sequences stray far from what would really happen.)
So, as I said, I walk a line. Sometimes, there are things I just can't do because they violate what I've set up as the rules of the world. Other times, I design the setting and nature of the fight specifically to allow for certain types of cinematic sequences. One thing I like a lot about Wax’s abilities is the power he has to manipulate his weight. There's some realism to what he does—for example, increasing his weight doesn't make him fall more quickly, but it allows him to do some powerful things while falling. Destroying the chandeliers is an example.
At the same time, I acknowledge that the weight manipulation aspect of Feruchemy is one of its more baffling powers, scientifically. Is he changing his mass? If so, he should become more dense, which I don't actually make the case when it plays out in fights. (Otherwise, increasing his weight enough would make him impervious to bullets.) So, if it's not mass manipulation, is it gravity manipulation, like Szeth and Kaladin do? Well, again, not really—as when his weight increases, his strength and ability to uphold that weight increase as well. Beyond that, Wax can't make himself so light that he has no weight at all.
So . . . well, at this point, the ability to explain it scientifically breaks down. I do like what it does, but I have to set its boundaries and stick to them—and accept that some of what's going on is irrational. (And don't get me started on what should really be happening scientifically when Wayne speeds up time.)
Hello everyone.
This is Matthew Scott, the CEO for Little Orbit, and I think we're overdue for a final update on Mistborn: Birthright.
First, we can now definitively say that this project isn't going to happen. Please know that it's not for a lack of effort. Even as a publisher, the video game industry isn't easy, and sometimes the best will in the world isn't enough.
Second, I want to thank all of Sanderson's fans who reached out with their feedback, encouragement and support over the years. It was truly a great experience to be adopted as part of the Cosmere community.
Lastly, I would like to thank Brandon, himself. He was a patient, great business partner, who produced an amazing story for the game. I still hope he finds a way to release the details or reuse it in some fashion.
Mistborn has been a personal passion project of mine, that we started back in 2011.
Many people don't know that by mid 2012 our internal development group at Little Orbit had a completed vertical slice for the game that we showed to a few journalists at E3. The game was much smaller in scope at that point, but progress was good. Then in late summer, a partner in our development studio sold his stake to a major publisher, and we had to get creative on how to split up Little Orbit / Game Machine / Papaya Studios. In the end, half of the development team went along with the deal, so Mistborn got shelved for a time.
From there it took about a year to get the project back on track.
During the break, we internally agreed that Mistborn fans deserved a bigger/better version of the game. During this second iteration, we engaged a number of larger RPG developers, and we started talks with Obsidian. Chris Avellone was a huge advocate, and he has always been a big fan of Brandon. But after months of discussion, their schedule proved to be too complex, and the game went back on the shelf.
We spent more time to rethink our approach, and we decided to increase the budget as our search continued. In 2014, we started talks with High Voltage Studios. The goal was to use their Saints Row technology to make a spectacular open world Mistborn game. I still believe that this is the best vision for the game. It combined elements of Assassin's Creed and Dishonored with the physics gameplay of Allomancy. We got our funding secured and even had a kickoff with Brandon in early 2015.
And then the unthinkable happened.
In a series of months two of Little Orbit's retail distributors went out of business taking large chunks of our revenue with them. Funding for future titles was immediately canceled, and it nearly bankrupted the company. We barely survived.
In the end, I am deeply saddened we couldn't get this made, but rather than continue to hold onto the rights, I'd like to see someone else make the amazing Mistborn game we would all love to play.
Thank you for your support.
Sincerely, Matthew Scott CEO
Alendi's "Piercings of the Hero"?
This is part of the manipulation Ruin did during the classical era on Scadrial, before the coming of the Lord Ruler. Piercings, and Hemalurgy, were part of the world before the coming of Allomancy in its modern form. Then, they were seen as a means of communicating with deity—which, indeed, they were. Ruin manipulated this to make sure any Hero of Ages who came would be under his influence. The reference is included mostly to indicate that yes, Alendi was under Ruin's influence. He ignored Rashek, though. (At least, right up to the moment when everything went 'wrong' for Ruin, when Rashek killed his chosen Hero of Ages.)
If I used a Hemalurgic spike charged with Allomantic powers on a person on say Nalthis, will the focus of Allomancy change because the power is being used on another planet?
RAFO.
You have said the fandom puts too much emphasis on the Lord Ruler's children. Is that because the Lord Ruler suppressed his ability to pass on his abilities to them?
No.
Brandon, that makes no sense. What? Now I'm even more upset. It's actually my fault, 'cause I keep telling people that the Lord Ruler's kids should be important, so you can blame me.
People can be important and not be cosmere-relevant.
Yeah, but they'd be like super-powerful Mistborn!
Yes, who died nine hundred years ago!
But he spent so much time getting Feruchemy away from Allomancy!
Yeah, that's true.
What is the experience of Steelrunning? ...It doesn't speed up your mind, so how do you control yourself?
Most forms of Allomancy give a small boost to any attributes you would need in order to survive and use and manipulate it, just like atium. So it's going to give you a slight ability-- might speed you up just enough to get some reactions and things, otherwise you just can't do it. What I don't have it doing is cancelling friction. I did that intentionally, so you can burn yourself up with that. But you have to use it measuredly and carefully.
Lemme guess, the "Mistborn" following Vin was actually Ruin, since Elend never actually saw him, and he disappeared every time Vin got close?
Yes.
Why did Ruin give off Allomantic Pulses? Because Preservation did and they're two sides of the same coin? Allomancy is of Preservation, so I figured that's why he did...
Manifestation of the awesome power he held, mixed with Vin's increased ability to sense these things. Allomantic pulses are like a ripple of sound in the fabric of creation itself—the power of creation being used, creating a drum beat to those attuned to it. Ruin created a similar beat when his consciousness was near.
MY HISTORY AS A WRITER
I’ve been thinking that I should give a little bit of an explanation of my history as a writer for those of you who don’t know. I think it might give you some context for some of the posts I’ve made, and things people are saying in the forums about my unpublished novels. Read on if you want a little context.
This all started in earnest when I was 21, about eleven years ago, back in 1997. That was the year when I decided for certain that I wanted to write novels for a living.
My first goal was to learn to write on a professional level. I had heard that a person’s first few books are usually pretty bad, and so I decided to just spend a few years writing and practicing. I wanted time to work on my prose without having to worry about publishing.
You might call this my “apprentice era.” Between 97 and 99 I wrote five novels, none of them very good. But being good wasn’t the point. I experimented a lot, writing a variety of genres. (All sf/f of course—but I did some epic, some humor, some sf.) As you can probably guess by me writing five books in two and a half years, none were very well edited and while I had a lot of fun writing them, they were done very quickly, and had a lot less planning than my later books. Not many people read any of these novels, and I only ever sent one out to publishers (the second one, STARS’ END.)
Around 1999 (I can’t remember the exact date) I started attending the science fiction magazine THE LEADING EDGE at BYU; I also took an important writing class, less because of what I learned about writing (though I did learn a lot) and more because of people I met. Through TLE and the class, I ended up as part of a community of writers, editors, and science fiction/fantasy readers who were serious about what they were doing. During this time, I founded a writing group with Dan Wells and Peter Ahlstrom (Fellfrosh and Ookla over on the TWG forums.) Other members included our friend Nate, who doesn’t hang out here any more, and Ben/Tage, who used to be one of the board’s mods and who is still often one of my alpha readers. Eric (St. Ehlers) was another of our good friends, as was Kristy (Brenna), among numerous others, many of whom don’t hang out here very much any more.
You might call this the “Golden Era” of my unpublished career. I was getting to one of the most creative points in my life, and was very energized and excited about the writing I’d learned to do. After practicing for five novels, I felt that I was finally in a position to do justice to an epic fantasy story. In 1999, I started a book I called THE SPIRIT OF ELANTRIS, which eventually just became ELANTRIS.
As I said, this was the golden era of my unpublished career—though I think the ‘unpublished’ part of that statement is important. I hope that I’ll grow and progress, and think that the books I’m writing now are better than the ones I wrote then—just as I hope that the books I’ll do in ten years will be better than the ones I do now.
However, the three novels from this era—ELANTRIS, DRAGONSTEEL, and WHITE SAND—represent some of the best worldbuilding I’ve ever done. Of the three, ELANTRIS turned out the best by far. WHITE SAND was good, though it will feel dated now if you read it, since my writing skill has improved quite a bit since then and it never got the level of editing and revision that ELANTRIS did. DRAGONSTEEL has moments of brilliance surrounded by some really boring sections; it had trouble because of the scope of what I was attempting. I think any of the three could have become publishable if they’d gotten the right editing and revisions.
Anyway, I wrote these books in 1999–2000. By 2001, however, this era was lapsing. I finished at BYU, and since TLE was for students, a younger crowd was taking over and I no longer quite fit in there. I continued my writing groups in various forms, and we started the Timewaster’s Guide as a project and forum for those who had worked together during that era of the magazine.
I was collecting rejection letters for ELANTRIS, WHITE SAND, and DRAGONSTEEL. I felt these books were good—very good. But nobody was giving them much attention. At the conventions, editors kept saying that fantasy novel submissions were too long, and that new writers shouldn’t be trying such beastly first books. I sat down to write MYTHWALKER, by ninth book, and halfway through just couldn’t continue. (It remains the only book I’ve ever given up on.) I was trying another epic fantasy, but I was increasingly disappointed in how poorly the first three had been received. MYTHWALKER felt like an inferior knock-off of my own DRAGONSTEEL, and needed to be rethought. So I stopped working on it. (Though one side story in the book about two cousins named Siri and Vivenna really interested me; they would later get their own book as WARBREAKER.)
The next little time is kind of the “Dark Era” of my unpublished writing career. After giving up on MYTHWALKER, I decided that New York wasn’t looking for my brand of epic fantasy, and that I’d try to see if I could write something else. I wrote three books during this era. MISTBORN PRIME (I added the prime later to differentiate it), THE AETHER OF NIGHT, and FINAL EMPIRE PRIME.
In MISTBORN PRIME, I tried to write a dark anti-hero involved in a story that was NOT epic. I tried to write something much shorter than I’d done before, forcing myself to stay away from grand stories or epic style plotting. The result was a 100k work (which is half the length of my other fantasy novels) which just . . . well, wasn’t very good. The magic (a preliminary form of Allomancy) was awesome, and the setting had great points to it. But the plot was unexciting, the character uninteresting, the story uninvolving.
Depressed by this failure, I didn’t send the book to a single editor. (Though I did show it to Joshua, who is now my agent, as he was curious and following my career at that point. He agreed that this book wasn’t publishable. He never saw ELANTRIS, he’d given up halfway through DRAGONSTEEL—which means he never got past the boring part—and had really liked WHITE SAND, but had wanted to see more from me before picking me up. He felt I still had room to grow, and he was right.
After MISTBORN PRIME, I wrote a book called AETHER OF NIGHT, which was far more successful. I think it’s the best of the four “Brandon tries to write more toward the market” books. At 150k, it was only 50k shorter than what I’d been doing during the ELANTRIS era, and I let myself play with slightly more epic stories and scope. At this point, I was trying for something with a little more humor in it, something with lighthearted, fun characters in a situation that was at times ridiculous and at times adventuresome. (A more David Eddings like approach, if you will.) It’s not a bad book. I probably won’t ever rewrite it, but it’s not a bad book. Joshua liked it just fine, and thought it was a step forward from Mistborn Prime.
At this point, my epic fantasy books got another round of rejections, including ELANTRIS rejected by DAW and DRAGONSTEEL rejected by ACE. I’d just sent ELANTRIS to Tor, but figured I’d never hear back. (They’d had WHITE SAND for several years at that point and never gotten back to me.)
Feeling uncertain about my writing and my career again, particularly since I felt that AETHER hadn’t come together just as I’d wanted, I turned my attention to trying the most basic of fantasy stories. Prophesied hero, orphaned, goes on a travel-log across the world to fight a dark lord. This was THE FINAL EMPIRE PRIME. Of course I was putting my own spin on it. But my heart wasn’t in it—I just couldn’t convince myself that I was adding anything new to the genre, and I was again trying for a ‘half-length’ story. Though there were no dragons, elves, or mythical objects to rescue, I felt that I was just plain writing a bad book. (Note that I was probably too down on this book, as it had some very inventive concepts in it, including a precursor to Feruchemy.)
I got done with FINAL EMPIRE PRIME and was just plain disappointed. This was the worst book I’d ever written. (And it is, I think, the worst—though MISTBORN PRIME is close.) Here I was, having written twelve novels, and I seemed to be getting WORSE with each one. I wasn’t selling, I was out of school working a wage job graveyard shift, and my social life consisted pretty much of my friends taking pity on me and coming to hang out at the hotel once in a while.
I think this was one of the big focus points of my career. That year, 2002, I made three decisions. The first was that I was NOT going to give up on writing. I loved it too much, even when I was writing books that didn’t turn out right. (I think this is important for every author to decide.) The second was that I was NEVER AGAIN going to write toward the market. It was killing my books. If I never got published, so be it. At least I would stop writing terrible stories mangled by my attempts to write what I thought people wanted. The final decision was that I’d go to graduate school in creative writing to get myself into that groove of being around writers again, and to also ‘delay’ for a few more years having to get a real job.
Enter THE WAY OF KINGS era. The last book I wrote before I got published was actually pretty darn good. I tossed out everything I was being told about how to get published, and just wrote from the heart. Over 18 months between 2002 and 2003 I wrote a 300k word book with a 180k outline/backstory/worldbuilding document. (Yes, the setting guide itself was LONGER than the previous three books I’d written.) Beyond that, I plotted the book as the first of TEN in a series.
KINGS was good. It had problems, but they were fixable problems, and I was extremely proud of the novel. I felt I’d found my place in writing again. I honestly think it’s the best of my unpublished books; almost as some of the published ones.
In 2003, I got the call from an editor wanting to buy ELANTRIS.
I suppose the story of my unpublished career ends there, though there’s one more side note. Why did I not published THE WAY OF KINGS? Well, a couple of reasons. First, my agent (Joshua) felt it needed a lot of work. (It did.) Secondly, it was so long that I think it scared Tor to consider it. They have published books longer before, but the market has changed since then, and approaching a book that length as an author’s second book made my editor apprehensive. He’d have done it, but he was already talking about how we’d need to slice it into two novels. (And I really didn’t want to do that.)
But more than that, I felt that it wasn’t time for KINGS yet. I can’t explain why; just gut instinct, I guess. I wanted to follow ELANTRIS up with a fast-paced trilogy. Something that could prove to people that I could finish a series, and that I really could write. I felt that launching from ELANTRIS into KINGS would be asking too much of my readers. I wanted to give them time to grow accustomed to me and my writing, and I wanted to practice writing a series before getting myself into something enormous.
And so—perhaps brashly—I looked at the two greatest disappointments of my career and said “Let’s do these the way they SHOULD have been done in the first place.” I took the best ideas from both, I added in a greater majority of other new good ideas, and I planned out a 600 thousand word epic told in three parts. My goal: A kind of calling card to fantasy readers. A trilogy they could read through and get a feel for who I was and what my writing was like.
Of course, then the WHEEL OF TIME came along and changed everything. I’m even more glad I did what I did, as I didn’t have to stop a series in the middle to work on AMoL. Plus, working on the WHEEL OF TIME has given me an unparalleled insight into the mind of the greatest master of the long-form fantasy series of our time.
Anyway, that’s a bit of history for those who are curious. Thanks for reading.
Out of all the magic systems, do you have a favorite?
Allomancy.
So for the Old Magic, in this classification system of end-positive, end-neutral, and end-negative, where would that fall under?
So, almost every magic in the cosmere is end-positive, almost every magic is relying upon an external source of Investiture to power it. So that phrasing is mostly more relevant to Scadrial than anywhere else, because that concept is how I'm dealing with things like the laws of thermodynamics, and even what they call end-neutral is relying a little bit on the power of Investiture to facilitate. So even an end-neutral magic system as they define it on Scadrial is actually not end-neutral. What you get put in you get out, but the power is facilitating that transfer… So that phrasing is kind of a... Take that as a science on.. Scadrial that does not extrapolate well, and may not even be 100% accurate.
That would have been a great thing to know before we did the cosmere magic panel. *laughter*
I look at it as, is an Investiture externally powering the magic, and if you look at Allomancy, yes it is. You are drawing that power out. Feruchemy, you are putting Investiture in from your own body, it's your energy transferring to Investiture, which is being stored, which you are then drawing out, and things like that. But that changing forms is facilitated by the magic. Whereas you're stealing stuff with-- So you could look, for instance at the magic on Nalthis, you could look at that one as being-- as kind of working as end-negative, meaning "I am taking it away from someone else", or end-positive depending on if you're the one receiving it or not. So again, it's a phrasing that can be useful as a tool but doesn't scale well to the other magics.
Why do the Twinborn in Alloy of Law have only one Feruchemical power, when all previous Feruchemists, in spite of breeding programs, could use all the metals?
Or were Ferrings always part of the system and we just didn't meet them in Mistborn?
The Ferrings are a new development since Mistborn, as the Feruchemists have been interbreeding with the Allomancers. Basically, the Allomancy genes interfere with the Feruchemy genes, breaking it down and creating the limitations we see in Alloy of Law.
Of the people that were sick for the 16 days in comparison to just the one day, it is mentioned that they would be able to burn more precious metals (atium). Could it also be possible they are/were Mistborn—with the ability to burn all 16 metals?
Well, what was going on here was a clue established and set by Leras before he died. He wanted something to indicate—should he be unable to inform mankind—that what was happening wasn't natural, but instead something intentional. He worried that men wouldn't be able to realize they were being made into Allomancers.
And so, the mist was set to do something very specific, as has to do with the interaction between the human soul, Allomancy, and the sixteen metals.
Each of the 'Shardworlds' I've written in (Mistborn, Elantris, Warbreaker, Way of Kings) exists with the same cosmology. All things exist on three realms—the spiritual, the cognitive, and the physical. What's going on here is an interaction between the three realms. I don't want to bore you with my made up philosophy, but I do have a cohesive metaphysical reasoning for how my worlds and magic works. And there is a single plane of existence—called Shadesmar, the Cognative Realm—which connects them all.
You will never need to know any of this to read and enjoy my books, but there is an overarching story behind all of them, going on in the background. Adonalsium, Hoid, the origin of Ati, Leras, the Dor, and the Voice (from Warbreaker) are all tied up in this.
The Resolution
TenSoon and the other kandra resist Ruin and are able to pull the spikes from their shoulders. There are a couple of reasons why they can do this.
The power that Allomancers have to take control of them is the same power Ruin has. That control is exerted in the form of mental pressure through emotional Allomancy. As can be seen from Marsh's viewpoint, it is more than simply forcing the body to act as Ruin wishes. The extreme pressure on emotions changes the very way the mind thinks, tricking it into doing exactly what Ruin wants. The flaw in Hemalurgists leaves them open to this kind of manipulation.
Kandra, who only have two spikes, are far more difficult to control than koloss or Inquisitors. Vin is able to control TenSoon with ease in book two, but that's partially because he wanted her to do so. He would have been able to resist her. If she'd continued to push, she could have broken him, but it would have taken time.
Even Ruin's pressure wasn't enough to take control immediately. The kandra had a few moments during which they could overcome him and maintain their free will. Beyond that, they were in a cavern surrounded by metal ore in the walls, making it very difficult for Ruin to see what was going on and interfering with his ability to control them.
Chapter One - Part Two
This second scene with Camon is important for several reasons. The first thing I'll note is that Vin doesn't say anything out-loud in the book until she tells Camon that his servants are too fine. I thought it would be interesting to introduce Vin as a character who doesn't say a whole lot–who thinks her responses. This establishes, I think, that she's something of an introvert, and that she's smarter than she lets people know. When she does speak, she's blunt and straightforward.
The other thing established in this scene is Vin's use of Luck. Hopefully, you connect her abilities with Kelsier's line in the prologue about the Lord Ruler fearing skaa who have "powers they shouldn't even know exist." Vin fits quite well into this category. She can obviously do something extraordinary, yet she doesn't know why–or really even how. It was difficult, narratively, to work out how Vin was able to use Allomancy without knowing it, but it works, and you'll get the explanation later.
So in the trilogy, we see that when someone has a Hemalurgic spike implanted in them, they can hear Ruin talking to them, both as a vision and in their head. However, we learn in the Hero of Ages that Ruin cannot hear a person's thoughts no matter how much under Ruin's influence they are.
In Alloy of Law, we see that Wax (and other Pathians) uses an earring to "pray" to Harmony, and we see that Harmony can hear his thoughts and respond.
So I guess this leads to three questions: How does Harmony hear the thoughts of Wax, when it's explicitly pointed put that Ruin cannot?
Are the earrings that the Pathians use Hemalurgically charged, as otherwise they would be of no use to Ruin, and therefore Harmony?
Or did Harmony completely change how that aspect of Hemalugy works?
How this all works dates back to the original design of the magic system.
I wanted Ruin and Preservation to be complementary opposites, like many things in the Mistborn world. Allomancy, for example, has Pushes and Pulls were are less "negate one another" opposites, but instead two sides to the same proverbial coin.
Ruin is invasive. The power is more "Yell" than "Listen." The philosopher would probably have some interesting things to say about the masculine symbolism of Hemalurgy and its spikes.
Ruin can insert thoughts. That power, however, can't HEAR the reactions. It's about invasion.
Preservation, however, is the opposite. Preservation listens, Preservation protects. (Perhaps to a fault--if there were no Ruin, there would be no change to the world, and life could not exist.) Because of this, Preservation can hear what is inside people's minds. It cannot, however, INSERT thoughts. (This is important to the plot of Hero of Ages.)
Harmony is both, the two complementary opposites combined. And so, he inserts thoughts with Ruin and still uses Hemalurgy. He can also listen.
Yes, Wax's earring is Invested. (Or, in other terms, it's a Hemalurgic spike.)
Doesn't that imply it was shoved through someone's heart at one point (ala Steel Inquisitor creation process)?
Yes, the metal would have to have been part of a spike that at one point was used to kill someone and rip off a piece of their soul.
Can you tell me which Hemalurgic spike transfers temporal Allomancy?
No, I cannot. Well, I could, but I'm not going to.
Book Wrap-up
Well, there you have it, the complete annotations for The Final Empire, Book One of Mistborn. The paperback of this comes out in just about three weeks, so my goal of getting all the Annotations posted before the paperback release has been achieved.
This was a very fun book to write. In a couple of months, Book Two will come out—which was, in turn, the most challenging book I think I've ever written. (But we'll talk about that during the annotations.)
Every book has things that turn out just like you imagined, things that surprise you, and things that never quite work out. In this book, the "heist" feel for the book is the one that never quite worked out. I sit and look back through the pages, and can still imagine the book as it was in my head before I wrote it. It's kind of an odd feeling to then have this book, which shares some attributes with the imagined novel, yet deviates in some important ways.
The power of the characters was what worked well—the thing that I wanted to have happen, then was pleased when it finally worked out. Kelsier's surprise at the end was a similarly nice payoff, as was the way that Allomancy worked out. Elend was a surprise, as was the amount of time I ended up spending in the ball scenes.
All in all, I'm very pleased with this book—I think it's better than Elantris, if not as "meaningful", and achieves just what I wanted. A second book to show off what I can really do.
I hope you enjoyed reading it.
The Final Empire Project: November 2001-July 2007
Brandon Sanderson
I got a real emotional allomancy vibe from Moash here. It felt like he was rioting Kal's depression and exhaustion. Is there something more going on than must Moash having a past and being able to cut Kal to the soul?
I can see how it would be read that way, but you have it a little reversed. This depression and exhaustion is how Kal has been feeling lately, and he's been painting over it with other emotions. He's been forcing himself to keep moving, and at this moment, he was just too tired to keep lying to himself.
I figured it would make sense that the Lord Ruler would be so old, so experienced, and so powerful that he wouldn't be able to be lied to. He's been around people for centuries and centuries. It's very hard to fool him.
His extreme power in Allomancy takes a little bit more explaining. It'll take me three books to get to the real reasons for that one. So, you'll need to be patient.
You have all these magic systems within the cosmere, <Allomancy and Feruchemy> and all that, and now they're starting to come together into one body. Do you ever worry that you're gonna treat that character where, like, they're drawing from so many systems that they're almost, like, the ultimate *inaudible*, like, they're drawing from five different magic systems and just don't *inaudible* anymore?
You know, having done The Wheel of Time, where Rand was basically a deity, I'm not quite as worried about that as I was. I don't know if that'll ever even get to that point. And it turned out that that was just fine. The thing about it is, stories always happen in the intersection of what characters can't do. And there's always something you can't do. Unless you become, like, all-powerful, all-omnipotent. So, I'm not that worried about it. I have to keep an eye on it, but I'm not that worried about it.
Would a Seeker burning bronze be able to tell what order of Knight Radiant someone is? Or what Surges they have access to?
Yes, but they'd have to be actively using it, right? So you could hear somebody -- for instance -- Lashing, but if you just saw somebody who'd drawn in Stormlight, you probably wouldn't be able to tell until they use that Stormlight, which it was. You'd be able to probably hear that they have the Stormlight.
So the pulses are not unique to Scadrial's Investiture?
No they're not. You'd be able to do that. In fact there are other things in the cosmere that are kind of the same sort of "radar detection" here and there, that you can read in the same way. Bronze is just the one of the best... way to do it -- being a Seeker is really handy for these reasons.
Being able to go off-planet with your Allomancy also is a pretty big advantage. It's really hard, for instance, to get a Surgebinder off of Roshar, because of the Connection stuff that's happening. In fact you may have heard in a prologue just recently someone complaining about that.
Today we're officially announcing Mistborn: Birthright, an action-RPG set in the Mistborn world.
To those who have been paying close attention, much of this may not be surprising. The MB:B website went live earlier in the month, and I have tweeted several times about the impending game. In short, we're hoping to do a fun, fast-paced, action game with some RPG elements, cool Allomancy effects, and some (hopefully) killer dialogue. That last part is my job, as I'll be writing the story and most (if not all) of the game's dialogue.
The game will take place hundreds of years before the events of the books, during the early days of the Final Empire. People have often asked me if I will do prequels to Mistborn, and my response has frequently been that I won't likely write them as novels–but I might consider them for other mediums. We're going to try it here, and this will let us do some very cool things to expand the world. And yes, you get to play as a Mistborn.
The game is scheduled for fall of next year, and we're still very much in the preliminary stages of game design. That means that I don't have much to tell you other than what I wrote above. (Though the game's website will be posting screenshots and the like as they become available.)
So, since I can't tell you terribly much about the game quite yet, instead I'll tell you how it came to be. I've been keeping my eyes open for the chance to do a Mistborn game for some time; several chances arose, but they always fell through for one reason or another. I didn't want to give the rights to just anybody. I've been a gamer since my first Atari, and I wanted to do it right.
When Little Orbit first approached me, I was skeptical. I didn't recognize the company, and though they had worked on some professional projects, I didn't see anything in their pedigree that screamed Mistborn at me. However, I like to at least talk to people who are making offers on my work.
And so, I chatted with them. I met with them. And I was impressed. Not only did they have a love for Mistborn, they had more experience at this sort of thing than I'd originally assumed. The company is made up of people who have been in the business for a long time, and they had worked on a variety of games I really love. (They even have guys who were involved in the original Fallout and Baldur's Gate games.)
Their pitch materials were good and very persuasive. But the final thing that convinced me they were right came when we sat down and talked about the type of game we would make. Not only were they eager for me to be involved in the story, our discussions of what would make an awesome Mistborn game were synergistic and exciting. They envisioned the game the same way I always had.
The longer I've worked with them, the more impressed I've been. They keep their promises; they aren't just willing to let me be involved–they seem dedicated to making certain I'm pleased every step of the way. They don't need to go so far–I've said before that I feel an author shouldn't usually have control of game design, but leave that to people who know how to make fun games–but they have gone well beyond what is required of them.
These guys really, really want to make a great Mistborn game. I'm thrilled by what is coming your way when this thing is done.
What I spent 2014 doing
January–March 2014: Firefight
Though I had hoped to have Firefight (The Reckoners 2) done long before January, the touring last year made that impossible. It snuck over into 2014, which is why you’re getting the book in January 2015 instead of the originally scheduled fall of this year. In March, I also did the Words of Radiance tour, which really cut into my writing time.
April 2014: Legion: Skin Deep
In April, once all the chaos was done, I took the time to finish up Legion: Skin Deep (sequel to Legion from a few years back), which I’d been working on during plane flights the year before. If you haven’t checked these two novellas out, you might want to consider it! They’re very fun, though the second book is not yet out in the UK and associated territories such as Australia and New Zealand. (Note that in those territories, Legion 1 and The Emperor’s Soul were released together in a very handsome paperback.)
We will eventually have regular hardcover copies of Legion 2 available. That will probably come sometime in the first half of next year. Our contract with Subterranean Press, who produced the very attractive limited edition hardcovers of Legion 2, says that we’ll wait until their edition sells out before we release a competing one.
May 2014: The Aztlanian (Rithmatist 2)
Next, I dove into research for a sequel to The Rithmatist. This is going to be a tough book to write, as it takes place in a fantastical version of Central and South America, and deals with things from Aztec (Mexica) mythology. (In The Rithmatist, a lot of the geography is shifted around in bizarre ways.)
Dealing with another group’s culture in this way is rife with opportunities for stuffing my foot in my mouth, and so I wanted to be very careful and respectful. This meant spending time devoted exclusively to doing extensive research. I didn’t actually get any writing on the book done, though I read some very excellent history books.
(As an aside, if anyone out there is an expert in the Aztec/Mexica culture—particularly if you yourself are a Native American—I’d love to have your help on this book.)
At the end of the month, I decided I needed to do way more research than a month afforded, so I put the book off for now. I still intend to write it, but I need more time to do it right.
June 2014: Alcatraz
Having spent a month with no writing, I wanted to jump into something fun and quick to refresh me before moving on to my next book. So, I dug out my outline for the Alcatraz series and at long last did a rough draft of the fifth book. These are fast, fast books to write—as I improvise them—but they are very slow to edit.
I finished the book, and am pleased with it, but I have no firm date yet for when I’ll be publishing it. Tor is rereleasing the series starting next year with new covers and extensive interior art. I believe these launch starting about a year from now. (If you want them before then, your best bet for getting them is the UK omnibus of the first four.)
I’ll want to release the fifth one once the series has been rereleased, so maybe summer 2016. If you’ve never read these, they are very different from my other work. They’re bizarre and sarcastic comedies that are self-referential and offer commentary on fantasy as a genre along the way. Those who love them absolutely love them. Those who don’t tend to find them insulting. That dichotomy alone is part of what endears them to me.
July–December 2014: Mistborn
The last half of the year was dedicated to Shadows of Self, the new Mistborn novel. And I have a confession to make.
I also wrote the sequel.
Now, before you start wagging your finger at me for being a robot, there was a really good reason I did what I did. You see, I was having real trouble getting back into Shadows of Self. I had written the first third of it in 2012 between revisions of A Memory of Light. (I was feeling Wheel of Time overload.) However, it can be very hard for me to get back into a book or series after a long time away from it. (This is another issue with the Rithmatist sequel.)
So, jumping into Shadows of Self was slow going, and I found it much easier to go write the sequel to refresh myself on the world and characters. That done, I was able to move back to Shadows of Self and finish it up.
So a week or two back, I turned in two new Wax and Wayne Mistborn novels. They’re titled Shadows of Self and Bands of Mourning, and Tor decided to publish them in quick succession: the first in October 2015, the second in January 2016. So, if you have read the original trilogy but haven’t tried The Alloy of Law yet, you might want to give it a look! From the beginning, I’ve planned Mistborn to be a continuum series, showing off Allomancy in different time periods. I think you’ll find the Wax and Wayne books to be fun, quick reads—and they introduce some very, very big things coming in the Mistborn world.
There will be one more Wax and Wayne (early 1900s-era) Mistborn book. Back after I finished The Alloy of Law, I sat down and plotted out a trilogy with the same characters. The Alloy of Law was more of a happy, improvised accident. The follow-up trilogy is meant to be more intentional. So in the end, we’ll have four total. (The final one is tentatively called The Lost Metal.) From there, I might jump to the second “big” trilogy, which is 1980s tech. Or I might dally a little more in something 1940s-era instead. We’ll see.
Amusingly, doing these two Mistborn books together totaled only about half as much writing as a Stormlight book. Perhaps you can see why it takes even me quite a long time to finish Stormlight novels. (And it’s why you might want to lay off Pat Rothfuss a little. I believe The Wise Man’s Fear was even longer than Words of Radiance.)
Tor did their announcement about these books earlier today. You may now commence wisecracks about me secretly writing extra novels when nobody is looking.
4 Hemalurgic spikes steal Allomancy, 4 steal Feruchemy, and 4 more steal Human traits. Do the other four a) steal a trait every normal human has, b) steal something only some humans have, or c) steal something no human has?
RAFO.
The third Mistborn series will be the 1980s, and the fourth one will be the space opera one.
Yep, unless I do a cyberpunk in between.
Do we ever see... I know in [The Bands of Mourning] is when we see the Allomantic grenades. Is that a setup to use, like, Allomantic engines for space travel at the end?
Yep. So, that is a setup for various uses of mechanical Allomancy and Feruchemy, is where we are pushing the technology. We're not there yet, but you should be able to extrapolate from some of those things for the future.
If a kandra eats a bead of lerasium, can he burn it? Alternatively can he gain Allomancy via Hemalurgy?
Yes on both counts.
Are the scholars influencing the behavior of the spren with their beliefs?
Belief and expectations influence all the magic systems.
Did the Lord Ruler have any Hemalurgic spikes in him? It would seem he'd need to for Ruin to influence him, but it wasn't mentioned. Or did his bracers work as spikes?
His arm bracers, which pierced his skin, were his spikes.
This is more towards the whole physics stuff, but is Feruchemy really balanced? If it gives diminishing returns, wouldn't this end up as a net loss of power?
It doesn't diminish. Or, well, it does—but only if you compound it. You get 1 for 1 back, but compounding the power requires an expenditure of the power itself. For instance, if you are weak for one hour, you can gain the lost strength for one hour. But that's not really that much strength. After all, you probably weren't as weak as zero people during that time. So if you want to be as strong as two men, you couldn't do it for a full hour. You'd have to spend some energy to compound, then spend the compounded energy itself.
In more mathematical terms, let's say you spend one hour at 50% strength. You could then spend one hour at 150% strength, or perhaps 25 min at 200% strength, or maybe 10min at 250% strength. Each increment is harder, and therefore 'strains' you more and burns your energy more quickly. And since most Feruchemists don't store at 50% strength, but instead at something like 80% strength (it feels like much more when they do it, but you can't really push the body to that much forced weakness without risking death) you can burn through a few day's strength in a very short time if you aren't careful.
I love the Hoid scavenger hunts that have been going on. What does he-- what powers does he have, what magic has used *inaudible*?
If you watch in these books, he has used on screen so far three of the different magics.
And have we seen those three-- do we know what those three are?
You know at least two of them. Very deep clues-- very more obvious clues are in this book [WoR].
And I haven't gotten to yet-- you can see where I am.
Yeah; watch where he and Kaladin have some interactions. If you watch carefully you will see something in what he mentions. You've already seen him and Shallan, that scene in one of her flashbacks.
I was almost-- I was reading that scene like "that has to be..."
Yeah, in that scene he uses one if you watch.
