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Questioner

Are there any other spren from Odium aside from voidspren?

Brandon Sanderson

Voidspren is a name for spren from Odium, it covers entire categories of spren.

Questioner

So they're all just generically voidspren?

Brandon Sanderson

Voidspren is a name for them, yes, but there are sub-divisions of things like this.

Questioner

Can you break that down more?

Brandon Sanderson

You will get that broken down in future books as it becomes more obvious what does what, coz they have their own thing that, I'm just going to stop. That's a RAFO.

Lance Alvein (paraphrased)

Is a person's Breath the entirety of that person's Spiritual Aspect?

Brandon Sanderson (paraphrased)

No.

Kaimipono

Why exactly do some spike removals kill (dual eye, or central spike) but most don't?

Brandon Sanderson

For the same reason that a bullet through one part of the body will kill you, but getting shot somewhere else won't. The physical form of a person who has undergone a Hemalurgic transformation is no longer what we think of it. The direct connection to Preservation starts keeping them alive. (Imagine stapling someone's soul to another person's soul, their life essence, then stapling that to the power of creation itself, giving you a conduit directly to power, letting you leech it and steal it.) That power keeps you alive, despite the wounds. Some of the time, the other staples are enough to keep you alive, even if one is pulled out. Others are too important.

Questioner

At this point, so far out from Oathbringer, what are the best and hardest things about having spent a lot of time writing about mental illnesses?

Brandon Sanderson

One of the reasons why I approached Stormlight the way I did is, during the intervening years, during those seven years, I got to know very deeply some people who we would call non-psychonormative, I think is a good way to say it. And I began to see that the various different ways we perceive ourselves and the various different ways we perceive our own mental processes influence a lot of how we act and who we are. And I also noticed, speaking to them, that a lot of my friends were a little--and there's no problem if you like these--but they're a little tired of every book that represented their mental illness in a story was all about the mental illness. That the book was only just how to cope with mental illness, which are great stories. But they're like, if you look at the statistics, psychonormative is not the norm. In fact, it seems to be this mythical person that doesn't exist, in that the way that all of us think is different, and in some of us it can be really impairing for our lives. And in some of us, the same thing that's impairing to our lives defines who we are. You guys want a really good book about this, Speed of Dark by Elizabeth Moon is a fantastic look at this.

But this all became really interesting to me. When I was looking at my characters, one of the things I noticed, for instance, I kind of used the pop science version of autism in Elantris. The more I actually got to know people with autism, the more I saw that the Rain Man version was a very extreme representation of something that is something a lot of people deal with, the way they see the world, and I started thinking, "You know, if I'm gonna create real characters in my books, this is something I need to be looking at." And it wasn't that I set out to say, "I'm going to write a book about lots of people with mental illnesses. I said, "I'm going to write a book about a lot of people who are like the people I know. And some of them think in different ways than others." And again, in some of them, that's a thing that they don't want to think that way. And it can be really impairing. But it's not that the story-- The Stormlight Archive is not about mental illness. The Stormlight Archive is about a lot of people that I wanted to try to make as real as I could, and that I also wanted to approach some things that haven't been approached, I thought, in fantasy fiction.

What are some of the advantages? Well, I think the story has been very eye-opening to me. It's hard to talk about advantages and disadvantages in light of this. What are the "disadvantages"? I am walking through a minefield, and I have blown my foot off multiple times. And I think this is part of that whole failure thing as a writer. If I hadn't perhaps done it poorly in some of my books, I wouldn't have had the chance to talk to people who are like, "I really appreciate the book and what you're trying. Here's how, if you ever did this again, you might approach making it feel more realistic." And that made me a better person, not just a better writer, and so in some ways that disadvantage is the advantage. But that is the thing. I have blown my foot off on several landmines. And I will probably continue to do so.

Atanas

What would you say is the best approach to battle the growing apathy, greed, violence, corruption, pollution and misery in the world today―using Sazed's wisdom, education, research on religions and unity through equal- mindedness or Kelsier's way of personal example, sacrifice, and unity through action?

Brandon Sanderson

I am more a Sazed than a Kelsier. Sazed is focused on patience, careful change, and thoughtfulness. But we need Kelsiers too—people who are willing to act decisively, to become the type of person that others follow, and to make things happen, even if sometimes there are terrible consequences.

Questioner

How do you keep your characters’ voices distinctive? Because Jordan is terrible, all the women sound exactly the same, but you don’t.

Brandon Sanderson

It’s weird. Character is the one I have the hardest time talking about. I’m naturally an outliner and planner for everything but my characters. What I do is, I cast my characters. I put a person in this role and I write a scene from their viewpoint and, if it is distinctive and it works, I go with it. If not, I set it aside and I try some other personality until I get something that  feels distinctive, and then I use that chapter as a model. Anytime I’m going to go back to that character, I go back to that chapter like, this is who they are. Later on, I’ll have touchstone chapters where they change and I’ll use that one instead.

The_Vikachu

Another hemalurgy question: Is it possible to steal more than just spiritual DNA with hemalurgy? If you, say, infused someone with a hundred hemalurgic spikes charged from people who liked chicken, would the spike person enjoy chicken as well?

Brandon Sanderson

You can steal quite a lot with Hemalurgy. Anything encoded on a person's soul, really. Not sure if chicken liking counts, though...

Alex Zalben

How do you craft protagonists? Do you start with them, or do you start with a plot first and then figure out the characters from there?

Brandon Sanderson

I wear one hat as an academic. I teach at the university, I have a master's degree in English. And then I wear another hat as the writer. And the academic and the writer don't interact as much as you would think they do. Because writing is an art, and part of it is so instinctive, that you have to... it's more like you train yourself with these "muscles" to use. And when you go into it, writing a book is almost like a performance art. In that I go and I perform for several hours. And then I get done, and then I can hand it over to the academic and say, "What do you think of this? What am I doing right, what am I doing wrong?" The academic has a lot more to do with editing. And the academic also observes my process and then learns to talk about it.

And I've learned that, for me, character is one of these things that I can't plan out too much ahead of time. Writers tend to fall into two camps. They tend to be, as George R.R. Martin calls them, architects or gardeners. Gardeners nurture a story. Stephen King is a gardener. Start with just some sort of idea, and see where it goes. And architects build an outline.

And I architect my plots. I build an outline, I build a world. My framework for my worlds, my worldbuilding... in something like Steelheart, I'll spend a lot of time saying, "What's the visual sense of this world? What's the underlying mechanics of what is making people become these Epics? Where does this all come from?" And build this all into a document, what the world feels like, what different cities feel like, and things like this.

But then, the person I place in this world, I found that if I put too much structure for that personality, the entire book feels wooden. It feels like this thing that I have created that the character just has to mechanically move through, and therefore can't be alive. And I found that, in order to add a sense of spontaneity and life to my fiction, I have to let the character develop naturally. I have to say, "All right, here is all of this stuff." And put the character into it. And then see if they follow the plot. And if they don't, I will rebuild my outline to fit what this character is doing.

So, yes and no. I often will have a conflict for a character that I'm putting them in, but I don't know who they are until I write the first scene. And that usually requires me to write three or four different scenes and throw each of them until I capture the right voice, like I'm casting different people in the role.

Alex Zalben

To use a very specific example, there was the annotated version of Steelheart, you talked about the main character, one of the main facets is that he has terrible metaphors. But I believe you didn't even discover that until you made a terrible metaphor in the first chapter.

Brandon Sanderson

Yeah, I don't even think it was the first chapter. Might have been the second, I might have re-added in them earlier on. But I'm writing along, I'm like, "Who is this guy? This feels bland. Who is he? What is he passionate about? What goofy things does he do?" And then I was trying to come up with a metaphor, and I wrote one, and it was bad. Like, it was just terrible. And I'm like, "Oh, I can't use that." And usually, I have to go through, like, six or seven. But I'm like, "This is a majestically bad metaphor." And for the rest of the book, I'm like, "This is him. He wants so hard to do things the right way that he goes too far and tries too hard, and they come out wrong." And I'll tell you guys, writing bad metaphors that are good bad metaphors is really hard. Because to make them work... it was a real challenge. It became the hardest aspect of the book, in some ways, coming up with his metaphors. Which are supposed to be bad.

Jurble

One I think might border even further on RAFO - in RoW, Dalinar accepts Kaladin's Fourth Ideal. I'm wondering, is it possible for Dalinar to... power-level a Radiant up to the Fifth Ideal by just accepting all their Oaths without regards to, you know, underlying fitness? Danger and safety issues aside. The Stormfather's comments on Ishar's powers being beyond the scope of what Honor allowed makes me assume he can.

Brandon Sanderson

RAFO, as you expected. But without Honor around, some of the things he could do are kind of up for grabs.

PewPewPokemon

If I spend thousands of dollars and fly halfway across the world to go to a book signing, what can I expect? I've never been to one before, and likely never will again. But Stormfather take me if this doesn't seem like a once in a lifetime opportunity.

Brandon Sanderson

You are more than welcome to come! But I do always feel a little strange when people spend a lot of money to come see me, as I'm not convinced I'm worth it.

Here's how a signing goes down: I usually speak for about an hour, which is divided into three segments. I generally start with a short (15 min or so) talk about something I'm interested in at the moment. Usually it relates to the book somehow, or to the fantasy genre. Then I do a Q&A with the audience for maybe 25 min. Then I do a reading for maybe 20 min. (This is usually from something I'm working on that isn't yet published.)

From there, I sit down and start doing the signing. This part takes a long time--four to six hours, depending. You usually get a line number from the store based on a couple of factors. (When you arrived and if/when you bought your book.) I strongly suggest checking with the store you plan to visit, as some of them have stricter policies than others about being required to buy a copy of the book to get into line. (Most of them don't require it, but let the people who bought the book from them--which is most people there--go first.)

You get maybe thirty seconds or so with me, during which you can ask a question and get a picture, if you want. (I always feel bad it's such a short time.) I will generally personalize up to three books, though I will sign as many as you want. Most stores only sell the US edition in the US.

If you mention you came from New Zealand, you will most likely be the person who came the longest distance, which I usually reward with a little pin.

All of these signings will be relatively packed, I'm afraid, so I can't suggest one over another being faster. But they're also all very good stores, and are generally willing to let you leave and grab food, then come back closer to your chance to get a book signed.

Gordon

The paintings (I think there were at least two, right?) that remind Lightsong of his dreams and the Manywar etc. Is the Artist someone we know? If not, will we eventually meet him/her in a later book? Does the artist hope to affect Lightsong this way, or is it just some guy giving abstract art to his God?

Jared

Is the artist that painted those paintings Hoid?

Brandon Sanderson

Hoid did not make the paintings. The goal of those paintings—and this is spoilery, by the way—the paintings are actually what the text implies that they are. They are abstract paintings which Lightsong, having a touch of the divine, is able to see and read into things that aren't necessarily there.

Beyond that, art is a magical thing in the world of WARBREAKER. When an artist creates a work of art, part of the artist's soul ends up in the artwork. Someone who has many breaths and who's Returned like Lightsong has the inherent ability to see into the art and perceive that. So Lightsong can interpret correctly an abstract piece, based on what the artist is trying to convey, in a way that a normal person couldn't.

I was not trying to make the artists anyone specifically important. In the case of those paintings, they are wonderful artists—I think they are two separate artists, if I'm thinking of the two paintings that you're indicating. As Lightsong has a splinter of divine nature inside him, he is able to interpret the paintings—to foresee, using them, and to see into the soul of the person who made them.

Questioner

So you have a lot of emotional times in your books where you feel something really strong, do you feel that when you are writing or do you think "I need to have an emotional point--"

Brandon Sanderson

The question is, I have a lot of emotional times in my book, do I feel that when I'm writing or do I just sit there and say "I need an emotional time right now". There's a little of both, as a storyteller you get a good feel for when you need certain beats in storytelling. One of the things I like about stories though, and this will tell you a little about me, I am not a very emotional person. My friends will tell you and kind of reinforce this, I am basically, kind of the opposite of an emotional person. When I saw that movie Unbreakable, I know that there are people who are broken so there must be people who can't be broken at all. I know people who are bi-polar with huge mood swings, I'm kind of the opposite of that. If you have a 0 to 100 emotional scale I get between a 65 and 75 every day. Doesn't change. I feel the same way every day when I wake up, but stories make me feel powerful emotion. They are one of the things that just tweak that needle in me and make it go crazy up and down. Which is one of the reasons why I think I fell in love with books and storytelling is because of that powerful emotion. So yes I do, and at the same time part of me is "I need something here. What do I need right here?" and my instincts say "Oh you need a pow. What's our pow?" and you work on it for a while until it comes together for you.

Laser Wolf 214

When did the idea come for putting this novel in Hoid's voice in order to give it a more Goldman-esque feel? Was it a fairly easy decision? Or was it later on in the process?

Brandon Sanderson

It was an easy decision at the start, though I will say the seed is that I've been looking for ways to expand upon Hoid's voice. When I write Dragonsteel, which will be in his voice, it will not be like this, the tone will be very different. But I've wanted for a while to tell kind of a longer Hoid story. People often ask me, "Hey, can we get a full Wandersail told by Hoid of all of their adventures and what not?" This is a think that I knew people were interested in, and I was really interested in doing it, as well. I wanted to do something different with my prose in this book, in specific. I just felt that there was a place I could do a little leveling up in my prose, and using Hoid's voice as kind of an excuse to do that felt very good.

And The Princess Bride book is just delightful, right? If you haven't read Goldman's book, it's very good. To be honest, another person who has prose like this is J.K Rowling. The early Harry Potter books, in particular, have this same whimsical, fairy tale feel. And then, of course, you all know that my favorite author is Terry Pratchett, and he obviously had... He had a different voice from this, it's less of the fairy tale whimsy. It's just pure Pratchett; it's hard to describe. But I've always wanted to be able to practice something a little more edging toward that. So, watching The Princess Bride again and thinking "No, that's what I want to do; I want to do a voice like that. And I have the perfect person to be giving that voice."

If you go to my reading that I did at the most recent book launch, you'll hear me trying (and failing, in my opinion) to get Hoid's voice right. Kingmaker is an experiment in trying to see what I can do with Hoid's voice and how to do it correctly. And I actually started that after I finished Tress, because I wanted to find a voice for Hoid that I could edge a little away from the fairy tale. I want to use the fairy tale voice. I believe that someday I might write another one from this same voice. But I also wanted to have a voice for Hoid... He can tell different genres, right? He can tell different kinds of stories; they're all not gonna feel the same, and you see this in the books, right? The way he tells Wandersail is different from the way he tells The Dog and the Dragon. Those are two different kinds of stories. So, I tried writing Kingmaker, and I did not like how the voice went in that one. So I backed off on that, and I instead wrote Secret Project Two, which is a non-Cosmere one, just to kind of shake myself out of where I had been and do something very different. (Obviously not told by Hoid; it's not in the Cosmere.) You can see a kind of failed start in there, which is kind of fun. And there are some things I like about that piece that I read from Kingmaker that I like a lot.

Isaac Stewart

That's interesting to me, because of course, when you get to Dragonsteel and he's telling his own story, he's not going to tell it like a fairy tale. It's going to be something entirely different.

Brandon Sanderson

It's going to have a more Kingkiller-esque fell to it. I want to practice a bunch of different ways that Hoid could tell stories.

Brandon Sanderson

If you guys don't know who Nazh is, Nazh is the person who annotates all the maps and pieces of art in the Stormlight books. The affectation is that the Ars Arcanum for the books and a lot of the illustrations are things that have been collected or put together by Khriss and [Nazh]. You describe Nazh as "grumpy James Bond," who is sent into the world to grab artifacts for Khriss when she's putting together kind of her guide to a world in the cosmere.

Isaac Stewart

I've discovered a lot more about Nazh in the last year, just because we're getting closer to including him in more things. Right now, his personality is "grumpy James Bond" because he goes on missions, he's kind of a grump... but he kinda likes that sort of thing - he likes going off on his own, figuring out ways to do things. He has a specific skill set that works really well for this sort of thing.

Brandon Sanderson

But things kinda go poorly for him most of the time.

Isaac Stewart

Yeah. I wouldn't say he's a Mr. Bean type character, but if you imagine the situations that he gets into, they're those sorts of things - but usually not funny, though he may tell them in a grumpy, funny way later on.

Brandon Sanderson

Basically, as Hoid is to me, Nazh is to Isaac. This is very fun because he can write all these annotations on the artwork, and you'll see Nazh popping up in the books now and then, just as cameo references to this guy. The affectation is the text of the book like The Way of Kings is not something that they have in-world, but all of the art in the Ars Arcanum they do, and those are produced by Khriss and Nazh.

Questioner

I wondered if there's a bit of you in all the characters... and it's characters where they don't have bits of you that you get stuck with writing them, and how you overcome that?

Brandon Sanderson

Yeah, getting stuck. So characters are the hard one for me to talk about because I plan my worlds in great detail before I start writing, in most cases, and I plan my plots in moderate detail. I plot backward, I start with what I want to have happen for a plot cycle; not necessarily the last scene, but, you know, something like this character learns to use the magic, and I've got the scene where it shows that this is working, and then I list a bunch of bullet points underneath. That's my-- And so if you look at my outline, it's like goal, bullet points, goal, bullet points, goal, bullet points-- that's my whole outline.

My characters, I figure out who they are when the book starts, but I do not outline them in great detail. The reason for this is we find that writers tend to fall into two general camps. We have what we call outline writers, and discover writers. Now, discovery writers, George RR Martin calls them gardeners, they like to discover their story as they go. Stephen King says you never start with an ending in mind because otherwise it ruins the book, he just goes and see what happens. They tend to write character really well. In fact if you're reading a good and you go "Wow these characters all feel really vivid and alive", that's probably a discovery writer. If you're-- On the other hand outliners, or architects as George RR Martin calls them, tend to plan everything out ahead of time and because of this they tend to have spectacular plots. If you've got somebody who's got a great plot, it's a page-turner, the great twist at the ending-- that's most likely going to be an architect, but the flaw of this is they tend to have weaker characters; and the flaw over here is they tend to have weaker plots. Terrible endings are a horrible kind of habit of the discovery writer. 

Over time I've really tried to kind of mitigate this by letting myself discovery-write my characters to kind of get some more of that living character status, which means I have to have a flowing outline where, once I've started writing my way into the character I will then have to rebuild the outline periodically to match the person they're becoming, which sometimes rips apart that outline quite a bit. The other thing that it requires me to do is I often have to kind of cast characters in a role. Vin is a great example of this, where I actually tried Vin three different times--I posted one of these on my website--with a different personality each time until I got one that would fit the story that I'm telling, and who she was, and I went from there.

And so it's really hard for me to pick out what I do with characters, but if my book is not working it's almost always that a character is not working for me. And this happened with Sazed in book 3 of Mistborn. I wrote this in the annotations, you can go and read it off that. Dalinar, in the original draft of The Way of Kings. When a character is not clicking 100% it is the biggest problem I run into with books, that takes a lot of drafting to figure out what to do. With Dalinar, if you're not familiar with what happened there, is I split him into two people. It always had his son Adolin, but Adolin had not been a viewpoint character, and the problem I was having with Dalinar was that I wanted to present a strong figure for the leader because people though he was going mad, but I also had to have him talk about this madness, and be really worried about it, and so he came on very weak, because everyone thought he was going mad, and he spent all of his time brooding about going mad. When I took the brooding out to his son, and had Dalinar be like "I'm not mad, something's going on, everyone thinks that I'm crazy, but I can deal with this", and had his son go "my dad, who I love, is going crazy", those two characters actually both became more alive, and worked better, than they had with the conflict of "I'm going crazy" being Dalinar's. So, it takes a lot of work to figure these things out sometimes.

Scott Wilson

You have really broken the mold and steered away from the usual races of the fantasy genre, is there any major reason why you avoided the standard tropes, such as elves and orcs?

Brandon Sanderson

A couple of reasons. Those are really two questions. Why did I avoid the standard tropes? For a long time I've felt that epic fantasy has relied too much on Tolkien, who did a wonderful job, but I feel that rather than doing what he did by creating races and mythologies and worlds of our own we've in some ways allowed ourselves to be strongly influenced by him and relied on some of the work he did. In other cases those tropes have just been overplayed and overdone by people who were very good writers and knew what they were doing. I certainly don't want to point any fingers at people like Stephen Donaldson who wrote brilliant books making use of some of the familiar tropes from Tolkien, but one of the things to remember is that when he did that they weren't familiar tropes. They were still fresh and new. The same can be said for Terry Brooks. I'm sure if I were writing back then that's what I would have done too, because we were still exploring the genre and trying to decide where it was going to go and what epic fantasy was and meant. But I feel that I belong to the generation after that. There was the generation who relied a lot on Tolkien and the generation who grew up reading those authors' books, and a lot of us in my generation of writers seem like we are reacting against the previous generations by saying, "Okay, that's been done, and you did a good job. Where else can we take this?" I have no interest in writing about elves or dwarves or any of these things that have been explored for the last four decades in intricate detail. I want to go my own directions.

But personally, why do I include the races that I include? I'm just looking for interesting things that complement the story that I'm telling. The races in The Way of Kings come directly into the story and the mystery of what's happened before. If you pay close attention to what the races are, it tells you something about what's going to happen in the future and what's happened in the past. It's very conscious. This is just me trying to explore.

I feel that epic fantasy as a genre has not yet hit its golden age yet. If you look at science fiction as a genre, science fiction very quickly got into extrapolating very interesting and different sorts of things. Fantasy, particularly in the late '90s, feels like it hit a bit of a rut where the same old things were happening again and again. We saw the same stories being told, we saw the same races show up, we saw variations only in the names for those races. For me as a reader, it was a little bit frustrating because I read this and felt that fantasy should be the genre that should be able to do anything. It should be the most imaginative genre. It should not be the genre where you expect the same stories and the same creatures. If we want to approach the heights of great storytelling and take it a few more steps so that we don't just copy what Tolkien did, we do what Tolkien did, which is look to the lore ourselves and build our own extrapolations. This is playing into what I like as a reader and my own personal philosophies and hobby horses, but it really just comes down to what I think makes the best story.

tharmsthegreat

Davriel is UB just like Brandon's favorite colors.

Tacenda is probs WG before the entity but I guess we could see her Abzan.

I hope both of the demons get cards too.

Brandon Sanderson

As for color identities here, I'd mostly agree with you. I see Davriel as mostly black, but with a blue element to him. I could see him printed under mono black, UB, or even--under just the right circumstances--esper. (He believes in the structure of laws and society, though admittedly mostly as a thing for "other people.")

Tacenda has a strong red streak to her--in fact, my initial concept for her was a mono-red character, but one who expressed the red aspect through music, song, and passion. The entity inside of her is green, however, and the white/green nature of her society has had a big influence on her beliefs in fate, the needs of the many, and that sort of thing. So I'd make her RWG.

sskeeto620

I was considering the same colors for both of them as well. Definitely black and blue for Davriel. I was personally leaning towards Esper, however. Like you said, he does believe in structure of law and society. Also, his ability to summon weapons seems like a white effect to me.

Brandon Sanderson

Well, he stole the weapon-summoning spell. I was told I could have Davriel steal and use spells of any color, so long as it was painful for him, and it was clear he was using them as part of a theft mechanic--meaning he only had access to them for a limited time.

BreezyIsBeafy

I personally thought he was grixis. I know I am wrong but, he is a demonologist, and I know demons are mostly black, but secondarily red. As well, most devils are also red. As for stealing powers is also very dimir, so I understand that. I would like to know what is the white mana coming from?

Brandon Sanderson

He doesn't use white mana--he can use black mana to cast white spells, if they are stolen. However, there's not a lot of red in Davriel, despite his fondness for devils. He's not emotional, or artistic, and is more about planning and forethought than intuition.

yulerule

Can you Forge liquids, like-- Does that go into Bloodsealing, can you change their blood type?

Brandon Sanderson

OK, can you use Forgery to, say, change someone's blood type? Yes. Can you Forge liquids? A little harder to stamp liquids, so this kind of comes down to, can you--

yulerule

Like, if you have a glass of water and you put salt in the water can you Forge it or make it and make it--

Brandon Sanderson

This is possible, but it requires a few little workarounds. Obviously you can do it because you Forge somebody, and they're mostly liquid.

yulerule

But you're putting in on a hard surface.

Brandon Sanderson

Yes, in the same way that you would with thr liquid you would probably--

yulerule

Touch some ice?

Brandon Sanderson

No, you would probably take the cup, and make it part of the whole, and if you can-- Remember in the cosmere, it depends on how you view a thing. Is it a whole? Do you view this as a cup of water, or do you view it as a cup and the water? Do you view a person as a vessel and the blood inside them, or together as a person? And that perception really affects your magic. So it's possible, for instance, to Forge a cup of water, Forging just the cup is easier than Forging just the water.

Questioner

How much artistic license did Michael [Whelan] have when designing the cover [of Rhythm of War] and what your process is when working with him to get the cover vision that you're going for?

Brandon Sanderson

Our preference is to give artists a lot of leeway for personal interpretation. I, personally, believe any piece of fan-art or official art is that artist's vision of what they saw in their head when they were reading the book. And that's going to differ greatly from what someone else would see, and I like seeing those interpretations. I like seeing those visions. So we try to give quite a bit of leeway and flexibility to the artist.

For instance, Michael (being the consummate professional he is) sent, like, ten sketches of possibilities. And we had ones we liked the most, and fortunately they were the same ones that he liked the most. But mostly, we say, "These are all great. Which one do you enjoy? Which one are you most excited to paint?" And we move that direction most of the time. Isaac will usually have continuity comments, and we want to make sure that things are in continuity, but we give a lot of freedom to the artists. We don't really want to chain them down. We want art to inspire art.

And so, because of that, people look different in some of our official interpretations. And I think that's okay, because that's how artwork goes. We're not trying to match a really exacting style guide on the characters, usually. And that lets us have the cover art for the UK cover look very different from the covert art form the US cover, and even have different interpretations on the characters in different ways. We'll catch the big things. We'll say "put a glove on her" if there's a scandalous hand exposed. We'll say "this is what the patch looks like that should be on Kaladin's shoulder." Stuff like that, we will do, but we try to give a lot of freedom.

I really like this cover. This is my favorite of his covers since the first one.

NutiketAiel (paraphrased)

If a native of Sel or another Shardworld traveled to Nalthis, would they be a drab?

Brandon Sanderson (paraphrased)

No, they would not be a drab. But, no one would be able to take their Breath.

NutiketAiel (paraphrased)

If such a person died on Nalthis, could they Return?

Brandon Sanderson (paraphrased)

No, they cannot Return.

NutiketAiel (paraphrased)

If such a person received breath, could they use BioChroma?

Brandon Sanderson (paraphrased)

Yes

Brandon Sanderson

Chapter Sixty - Part Two

Lukel

Lukel isn't as interesting as Galladon, but I still enjoyed giving him a viewpoint. He has the perfect personality to show what I wanted in these chapters. He's not a warrior–like Kiin–or a king–like Raoden. He's just a regular person caught in a nightmare.

I wanted to deal a little bit with prisoner mentality in this scene. People allow terrible things to be done to them in situations like this. Part of it is because they fear what COULD happen more than they fear what IS happening. In this case, hope proves their enemy. The Dakhor stop killing the people and start rounding them up instead. The reason for this is simple–after seeing and hearing such terrible things, the people would run and fight. However, if the Dakhor back off, the people can hope that the worst is over. For this reason, they let themselves get rounded up and gathered in Elantris.

It may seem convenient that the soldiers wait to kill the people, but I think it makes sense. You want to gather everyone in an enclosed place, where they will be trapped, before you begin your slaughter in earnest. That way you can be certain there are no escapees. The only one I fudged here was Kiin. A Dakhor probably should have killed him. However, I've had enough corpses in this book. Randomly killing off Kiin seemed like too much. (Some readers are already in rebellion over the people I've killed–or, rather, will kill shortly. . . .)

Anyway, I get past part of this concern by throwing in the "purification rites" line. This hints that there is some sort of ritual that needs to be preformed before the people can be killed, and therefore explains why the Dakhor don't just slaughter them immediately. (I still think that control is the greater reason, however.) Another explanation of why the slaughter starts is mentioned by Lukel. Most of the Derethi left in Arelon are regular soldier-monks, not Dakhor. They don't have the same. . .zeal for destruction as Dakhor.

Questioner

In Secret History, Nazh briefly mentioned that there's requirements or conditions to become a Cognitive Shadow. Can you tell us one of those?

Brandon Sanderson

Uh, lots of Investiture. Is one way. As a certain person discovered.

Questioner

If that person were to not have entered Preservation's pool, it still would have given the same result?

Brandon Sanderson

If they had not, they would be gone.

Questioner

I wasn't clear. If they had done a different pool, not Preservation's.

Brandon Sanderson

Oh, if they had been able to Invest themselves heavily, then they could have stuck around, yes. That wasn't Preservation's pool, that was more a function of--dipping themselves, pulling an Achilles inside of a Shardpool when you are dead, turned out to work. It's not the only way, not everyone on... Threnody, for instance, is heavily Invested.

Questioner

It must be very difficult to write Dalinar, since it's--

Brandon Sanderson

Yeah he's a very different person, it's kind of brutal to write him now. But it works, it's a good counterpoint.

Questioner

*inaudible* Shallan and Kal are both younger, so you have less to write about than Dalinar?

Brandon Sanderson

Oh yeah the flashbacks cross about 20, 30 years with Dalinar so it is a challenge. But you get to see a lot of sweeping changes in his personality which is really fun.

Brandon Sanderson

Here’s the second segment of the proposal I turned in to Tor before visiting the offices. If you want to read a little more about my visit, hop over to the Time Waster’s Guide (www.timewastersguide.com).

This section focuses on sequel opportunities in the ELANTRIS world. We’ll see whatever comes of this–whether or not I ever do another book in this world will depend on several factors.

ELANTRIS SERIES

Elantris is an excellent book that does a good job of introducing people to what I do well as an author. It has a unique, interesting setting with a clever, rule-based magic system. One of the main characters, Hrathen, is a very good example of the type of character I like to write–a person with deep personal demons related to the setting, magic, and theme of the book. People who come out of Elantris wanting more of my work will not be disappointed, as many of my other works have a similar feel.

However, Elantris itself doesn’t provide as good a launchboard to a series as some of my other projects. By the end of the book, I’ve resolve most of my conflicts–both plot and character related. In the grander picture, the characters were developed in a kind of ‘superhero’ mold. They were designed to be extremely competent, then thrown into extreme situations to provide conflict. It would be difficult to provide a challenge for them in further books.

None of these things would necessarily prevent a sequel–indeed, I left plenty of plotting room at the end of the book to expand the series. However, I believe that an Elantris sequel would have to be episodic in nature, taking place a decade after the first book and dealing with different characters. I think continuing characters provide more of a draw for a series, and this is why I haven’t pushed very hard for an Elantris sequel. I think Moshe has sensed the same thing, since we’ve only spoken marginally of future books in this series.

JoyBlu

Both Tien and Kaladin are Radiant, you talked about how that wasn't hereditary, and how that was more because of where they were with association. Was it because they were associated with the same person, or the same place?

Brandon Sanderson

Yes, Connection influences spren.

JoyBlu

Right, but was the Connection to a person that they were around?

Brandon Sanderson

Connection to people.

JoyBlue

So not necessarily the place where they were?

Brandon Sanderson

Right.

Joyblu

Because my way of thinking it might be with the people is because, like with the Purelake on the Cognitive Realm there would be more spren hanging out there because that was more land, right; so if you spent more time on that you would have more spren around you. So if you're closer to more water, you're closer to more spren.

Brandon Sanderson

That is not an irrelevant observation.

Questioner

Do you have a special way of coming up with your bad analogies?

Brandon Sanderson

Do I special way of coming up with bad analogies. Which are actually similes. So here's the thing-- So Steelheart, I wrote Steelheart in like 2008 or 2009, it was pretty early on, I had the idea-- I was touring for some book, I think-- I feel like it was Warbreaker or Mistborn 3, any way I was touring for one of these books and I get cut off in traffic, I get really mad at the person, and I imagine blowing up their car. I get horrified, like "If I had superpowers is this what I would do? Would I blow up cars of people who cut me off in traffic?" and I was like "OOh that's a story". So I went and wrote the prologue, like almost immediately, I think on that tour I wrote the prologue. I remember reading it at DragonCon that year, whenever year that was.

Then I put the whole book aside and had to wait for like 5 years because I'm like "I'm working on The Wheel of Time I have no time to write this other side project." I was much better at that and not going crazy on side projects when I was doing that. When I finally got back to it I had this prologue-- The prologue was ten years before in-world time, like the character grew ten years between the prologue and chapter 1, so I was "Alright I need a voice for this character" and I started writing, doing my standard thing. I was having so much trouble coming up with a distinctive voice for David, the main character, and I accidentally wrote a bad metaphor. That happens a lot when you're writing-- you just come across something and it's a terrible analogy and you delete it, but here I said "Well what if I ran with that?" The fun thing is by coincidence that became a metaphor for his entire personality. He tries so hard, is very earnest, but sometimes he tries a little too hard, and looks beyond the mark, and stumbles a bit. And that is who he became as a character, and the bad metaphors are a great metaphor for that.

Coming up with them now is really hard. Doing it on purpose is way harder than coming up with good metaphors. They are rough. Sometimes I'll sit-- Like the most time I spend staring at the screen when working on these books is coming up with one of David's metaphors.

Brandon Sanderson

Chapter Forty-Nine

Vasher's Temper

Giving Vasher temper issues is part of a minor quest on my part to find more realistic conflicts and personality traits for my characters. It seems that much of the time, the flaws that writers give their heroes are really just backhanded talents. A hero is "too bold" or "too much of a bookworm." I'm guilty of this as much as anybody. (Siri's character flaws are an example.)

It's a tough balance. Real people tend to have flaws that make them . . . well, unlikable sometimes. Or at least difficult to get along with. We get grumpy, we make bad decisions, we say things we don't mean. It's hard to convey this in a story without making the characters unlikable. There are authors who are fantastic at doing so, and Vasher here was me toying with making a person have a more realistic temperament. There's no hidden advantage for him being like he is; he's simply got anger issues. Not extreme ones—it's not like he has to go to therapy. He's just prone to losing his temper like any number of people out there in the world.

Brandon Sanderson

Why I cut the deleted scene

This story began with the idea of taking some common tropes in science fiction—the brain in a jar, the Matrix-like virtual existence—and trying to flip them upside down. In every story I’ve seen with these tropes, they’re presented as terrible signs of a dystopian existence. I asked myself: What if putting people into a virtual existence turned out to be the right thing instead? What if this weren’t a dystopia, but a valid and workable system, with huge benefits for humankind?

Kai’s and Sophie’s stories grew out of this. I loved the idea that putting people into simulated worlds might actually be the rational solution, instead of the terrifying one. An extreme, but possibly logical, extrapolation of expanding populations and limited resources. There are certain branches of philosophy that ask us to judge what is best for all of humankind. I think an argument could be made for this case.

This is the first reason why I cut the deleted scene. It shifted the focus too much toward “Let’s escape the Matrix” instead of the theme of technology doing great things at the price of distancing us from human interaction.

All that said, Sophie’s arguments in the story do have validity. One of my thematic goals for the story was to reinforce how the fakeness in Kai’s and Sophie’s lives undermines the very things they’ve built their personalities upon.

For Kai, this is his heroism. The fact that there was never any actual danger for him meant that he was playing a video game on easy mode—all the while assuming he was on the most hardcore setting. This asks a question, however: if his heroism felt real to him, does it matter if he was never in danger? I’m not sure, but I found it one of the more intriguing elements of the story to contemplate.

Sophie has a similar built-in conflict. Just like Kai’s heroism is undermined by his safety net, her revolutions and quests for human rights are undermined by the fact that she was fighting wars that had already been won in the real world. Her state was intentionally built without these things, just so she could earn them.

And yet, does the fact that the conflict has been won before make her own struggle any less important and personal to her?

She thinks it does. She thinks that the conscious decision of the Wode to put her into a world with fake problems and suffering is an unconscionable act. One that undermines any and all progress she could have made.

I like that the deleted scene helps raise the stakes for questions like this. However, there’s a more important reason why I felt I needed to cut it. And that has to do with a problem I have noticed with my writing sometimes: The desire to have awesome twists just because they are unexpected.

In early books, such as Elantris, this was a much more pervasive a problem for me. I was eventually persuaded by my editor and agent that I should cut some of the twists from that book. (There were several more twists in the ending; you can see the deleted scenes for Elantris elsewhere on my website.) I was piling on too many surprises, and each was losing its impact while at the same time diluting the story’s theme and message.

I felt like this ending was one “Gotcha!” too many. I see this problem in other stories—often long, serialized works. The desire to keep things fresh by doing what the reader or viewer absolutely would never expect. Some of these twists completely undermine character growth and audience investment, all in the name of a sudden bang. Sometimes I worry that with twists, we writers need to be a little less preoccupied with whether or not we can do something, and a little more focused on whether it’s good for the story. (With apologies to Ian Malcolm.)

A twist should be a natural outgrowth of the story and its goals. In Perfect State, I decided that my story was about Kai getting duped: duped by the Wode, then duped by Melhi. The twists in the published version contributed to this goal, giving in-story proof that his heroism could be manipulated, and that his existence had grown too comfortable.

I worried that the extra epilogue would divert the story away from these ideas. And so, in the end, I cut it. (Though I’ll talk in the next annotation about some ramifications of this that still trouble me.)

Questioner

Glys, Renarin's Spren, is he a Cultivation Spren?

Brandon Sanderson

RAFO.

Questioner

Could you say that he is equally bonded to a different entitiy/to a different Shard like Sylphrena is bonded to Honor?

Brandon Sanderson

You're asking... Is his like the windspren?

Questioner

I mean allegion to his aspect.

Brandon Sanderson

Are you still talking about Glys?

Questioner

Yes. Sylphrena is like 100% of Honor. Is Glys like 100% anything?

Brandon Sanderson

RAFO.

Brandon Sanderson

The Dedication

I've always intended to dedicate my first published book to my mother. I poke a little fun at her here, since I can't resist. However, I really do owe a lot of who I am–and what I've accomplished–to her. When I was in elementary school, I had mediocre grades–and my test scores placed me as "below average" on several occasions. Well, she was bound and determined to prove that I was "gifted" despite those scores. She worked hard to get me to improve in school, and she was a prime motivator behind my reading habits.

Now, my mother is a very practical person. She believes strongly in practical professions that pay well and are stable. Writing is neither one of these. I think she realized early on that despite her hopes, she wasn't going to have a doctor or a business man–or even a scientist–for a son. She did convince me to major in biological chemistry as a freshman–though she said this was simply to put me in a better position for getting a scholarship (which I did get, by the way). However, I've always assumed that a little piece of her hoped that the bio-chem influence would persuade me to go to med school, or to at least become an engineer.

That, obviously, did not happen. The big bad English monster took me in my sophomore year. However, my mother has always been supportive, and it was her sense of dedication, excellence, and assiduousness that forged my determined personality. Without that sense of self-determination, I would never have lasted in this field long enough to publish.

So, thank you mother. Thanks for being proud of me.

Gamerati

Do you have a "look bible" [for collaborating artists]? Or do you literally give them the stuff that you've already produced? Do you say, "This is my map of X," or "This is the way the Lord Ruler works," or do you kind of go, "Hey, here's what Vin has been for the last ten years, but these are the things you can't change"? Do you have guidance like that that you give people?

Isaac Stewart

Usually the guidance we give them is the words in the book. We sometimes give pictures and things, reference. We did that for the cover for Oathbringer, where we provided reference of, "Here are some pictures of people who look kind of like Jasnah that might work."  We're doing that more and more, but at this point...

I know that Magic: The Gathering has these big look bibles that they share with their artists, and those are really cool. And then they wind up turning them into these gorgeous art books that they've been putting out, using a lot of the same stuff from there. And we haven't gotten quite to that point where it's like, "You know what? This person has to look this particular way." We're moving that direction, slowly, but that's because we're based on books. We want people to be able to imagine the characters as they would.

We hesitate sometimes, when it's like, "Okay, here's the look of what this person is." Even with the Heralds, that we were putting at the endpapers of the Stormlight books, we are careful to say that those paintings are somebody's interpretation. We like ot think of these as in-world interpretations, and each of the artists who are painting them for us are maybe artists actually on Roshar, and they've painted these paintings that are hanging somewhere in some prince's palace or queen's palace, and they've got all of these pictures of the Heralds. So we treat these as in-world artifacts. However, they were not painted from the real people that the Heralds are, so it's more of the tradition of what this Herald looks like.

Gamerati

It's very interesting you say that, because you even said that, when you showed us your early sketches of Vin, looked very much like what [fan artists] made. So, the words are descriptive enough that they're fairly clear.

Isaac Stewart

I mean, there are some thing that we have to canonize later, like, "Which ear is Vin's earring in?" Well, it's not mentioned. It's not mentioned until we got to the leatherbound books, and we said, "We have to figure this out!" And then we made a few notes in the leatherbound books, "This is her left ear." But there are things we run into like that. And the more secondary the character is, usually the less words that are written about them, so there's more wiggle room on how to define them.

Questioner

How much self will do the Shards (the person, not the power associated) have, [is it complicated by having more pieces?]?

Brandon Sanderson

So they do have a lot of personal will power. They can do things. But the longer they hold the power, the more their will starts to align with that of the power. Resisting it can keep it from happening, but it will eventually happen. So yes and no. It depends on the individual, it depends on how long.

Jennifer Liang

Alright, so you guys all know who he is but I need to explain why I'm sitting next to him, for the majority of you who have never seen me before. I'm Jennifer Liang, and many years ago I was the Track Director for the Wheel of Time track here [at DragonCon]. *cheers* Awww... I've moved on to other things, I chair my own Wheel of Time convention [JordanCon] now, so if you are interested in that go look that up somewhere. But the reason that Brandon was first at DragonCon, eight years ago, was because I told him to be here.

Brandon Sanderson

I was really scared. *laughter* See I knew Wheel of Time fandom, as a fan, and I knew how crazy they were. And so when, basically, the queen of Wheel of Time fandom wrote to me and said "You're going to come to DragonCon and talk to us." I was super nervous. I still remember it, I was talking to Jenn about it. I walk in and it was a room, pretty big, not as big , but packed with people. And I walked in and I'm like "I've never been in a panel this size before." right? "I'm used to going--" It was only that same year, I think it was, that I went to WorldCon and did a reading and there was only one person at my reading. *laughter* And it was Eric James Stone, my good friend. *laughter* They did schedule it opposite Lois Bujold's main address, which was part of the problem. But still, I went from one person in my reading to walking into a room like this. Full of a whole bunch of people who are like "You're not my real dad." *laughter*

Jennifer Liang

It was very weird hearing somebody who was not Robert Jordan talk about writing The Wheel of Time. Like it was really flipping us out at the time. But he-- you were good.

Brandon Sanderson

You were all very nice. Except for the-- The did this thing called... Darkfriend games, right? Are you a Darkfriend. Which is basically like Assassin, one of those party games where you sit around-- Except it's Wheel of Time themed. And they always murdered me, like first. *laughter* Right? Like that's how I knew there was a little bit of subconcious agression going on. We'd look up and they'd say "Who did the Villagers want to kill? Brandon." Every time. I was never the Darkfriend, but they killed me every time.

Jennifer Liang

It was funny. *laughter*

Brandon Sanderson

There's a group of three of them in particular, that I remember, who kind of ganged up and got me. So I actually put them in, I think as Dreadlords, in the books and got them murdered. *laughter*

Jennifer Liang

They're extremely proud of themselves.

Brandon Sanderson

They're very proud. They got in and murdered. So if you look for a conspicuous group of Dreadlords that get killed in a very terrible way, that's them.

Questioner

How many hours a week do you spend writing? You write more than anybody--

Brandon Sanderson

I do it in normal person's job, I'm... Eight hours a day probably. Two four-hour sessions usually. I'm not that fast, I'm just very consistent. It's just my personality. It's served me really well in writing, just because I can consistently write everyday. I don't go through mood swings and things.

Brandon Sanderson

Chapter Twenty-Five

Fadrex

Fadrex was originally named Fadex. However, nobody—not my editor, my agent, or my writing group—liked that name. I added one letter, and suddenly it was okay. Go figure.

This city, as I mentioned earlier, was very tough for me to figure out how to describe. I can picture it quite distinctly in my head. Of course, I've spent a lot of time in southern Utah, where rock formations like this are plentiful. If you Google "Cathedral Valley" you can get an idea of what this area might look like—except that the formations in Cathedral Valley are a little bit higher and more spread out than what I imagine for Fadrex.

Sometimes I wish I could crawl inside the heads of my readers while they experience these stories and see what they imagine the places to look like. I've said before that I like how fiction is participatory—that each person who reads my books imagines slightly different things; each person gets different images for places and characters. I'd like to know what they see, just for curiosity's sake. There's no wrong way to imagine these people, just like there isn't a right or a wrong way to pronounce the names. It's all up to you.

Questioner

I just finished rereading through Legion, and I was curious what led you to write so much about religion and that sort of thing. As a religious person, I really appreciated the fair way that you dealt with it in those books.

Brandon Sanderson

Being religious myself, it fascinates me, and the different ways that people intersect religion. Having one person who had all of these different personas that can all have different, varying levels of interaction with religion and the divine was also really fascinating to me. It offered me an opportunity that I probably couldn't do in any other story.

asmodeus (paraphrased)

Would the Unmade correspond to the various Knight Radiant Orders by philosophy? Would Odium's champion be his equivalent to the Bondsmiths?

Brandon Sanderson (paraphrased)

No, the varieties of the Fused do that. It's not 1-to-1, but think of the Unmade as the analogs of Heralds. Odium has no Bondsmith Analog.  

Questioner

Which Cosmere character would make the best political candidate?

Brandon Sanderson

Here's the thing. Best candidate is not the same as best... Who would be best in the office? Because Taravangian could probably do a really good job of running a candidacy. Jasnah could probably do a really good job in the right circumstances.

If I had to put one completely in charge? Sazed is a good choice. And he would be my default choice. Sazed would never run for the office. But he is a good choice.

We joke the best politicians are those who don't want it; I don't know that that's actually true. I think that there are definitely people who could very much want it, and that wanting it is an advantage. I joke that I'm gonna vote for Emily's dad, who is just a good person, but he would never want to be President. And I don't know if he would actually make a good President because of that. And there is something to be said for political experience, experience being in the public eye, and being the type of person who seeks it out because you know you can deal with it, because it is not easy to be in the public eye (even as a novelist who writes stories about knights who live in space, or whatever). It can be difficult. Someone who's self-selected can be a bad thing, but it can also be a really good thing, I think. So somebody who wants it, who understands how politics works, and things like that. And in that case, Jasnah becomes a better choice, because Jasnah can navigate those political systems and can be in the public eye and make difficult decisions, but also has a moral grounding for the things that she's deciding.

But Jasnah's also a little dangerous. The scene in Book One with Jasnah and the thieves is supposed to make you a little worried about the way that Jasnah views power.

Sarene, she would be a good choice after she's had a little more experience. She's not as good as she thinks she is, is the problem with Sarene.

Elend is a good choice. Elend is a political theorist, and particularly if you get him at the right point after some world experience has forced him to see some other perspectives, he might actually be the single best choice, now that I think about it, to just make into President.

Questioner

After reading your entire bookology--

Brandon Sanderson

Bookology, I like that.

Questioner

It got to the point where I was running out of books so I went on your website and found your recommended reads and after talking to some other authors I found some other connections to you, David Farland, Brian McClellan. Is there anyone else you would recommend down the same track?

Brandon Sanderson

Ok, authors I would recommend-- I'm going to go in a couple of different directions because not everyone might like the same sorts of things. I'm going to tell you what I've been reading lately. Brian McClellan's very good, and Brian McClellan was one of my students but I can't really take credit for Brian because he was really good when he came to class in the first place. Brian's books, if you haven't read them, Promise of Blood is the start. They are flintlock fantasies and they kind of combine a little bit of hard fantasy magic, like I do, and a little bit of the kind of grimdark grittiness and kind of combine them together into this cool mix. So the magic isn't quite as hard as the magic I do, meaning quite as rule-based, but the grimdark isn't quite as grim as the grimdark tends to go. The mix works really well.

I read Naomi Novik's new book, Uprooted, which is really good if you haven't read it. It's kind of like a dark fairytale YA but really twisted, so it's not intended for a teen audience because it is pretty twisted, but it's like how the fairytales really were, it's that sort of thing, it's really cool, it's very well written. Let's see-- I'm currently reading Dan's new book, that's not out yet. But I Am Not a Serial Killer. If you haven't read Dan's books they are great and they are creepy. It's about a teenage sociopath who hunts demons, to get that whole "I'm a sociopath and kind of want to kill people". Not that all sociopaths want to, but he does. And getting it out of his system is going and killing demons. 

Let's see, what else have I really loved. I like Robin Hobb's books a lot, if you haven't read Robin Hobb. Brent Weeks, a very similar writer to me. Brent Weeks, The Black Prism. It seems like Brent and I must have read the same books, a lot of the, growing up, and have the same-- because we both kind of independently started doing this kind of epic fantasy rule-based wacky magic kind of thing right about the same time. I really really like NK Jemisin, Nora Jemisin, her books are very literary so if you're not on the literary side of fantasy-- but the new one is fantasic, it's written in the second person, at least one of the viewpoints is. It's like the only book I've ever read in second person that works. And some of my classic favorites are A Fire Upon the Deep, by Vernor Vinge, it's very Dune-like, in that it's a science fiction that blends the best parts of epic fantasy together with it, and if you haven't read that and you like Dune, you'll probably like A Fire Upon the Deep. There we go.

Questioner

Does it feel like your own work when you hear [a translation]? Is it recognizable in any way? What do the translations do with your work? I suppose you get a lot of questions by your translators about the magic, about invented words. How does this reflect on your writing?

Brandon Sanderson

You know, I’m not sure if it changes the way I approach my writing at all. But I do find it fascinating. Hearing a reading, in particular, is in some ways, it’s a double interpretation. Because first, you have the translation to German. And then you have the narrator... will give an interpretation, as well. But one of the things about writing that I believe is that I’m not completing the story. What I do is, I write a script. And every person who reads that book is going to finish the story in their head. I give descriptions of the characters, but even with those descriptions, every person who reads the book is going to imagine those characters [in a] slightly different way. So I’ve always viewed myself, as a writer, as kind of like the screenwriter. Where the reader is the director, who’s going to finish the story. And I don’t think a book really lives until it’s been experienced by a reader. And so it doesn’t bother me, the idea of going through translators or getting different interpretations by the audiobook narrators, because I feel like my text is going to be interpreted by whoever experiences it, in different ways. And in some ways, as soon as it gets experienced by a reader, it becomes their story. They finish it, and it doesn’t really ‘come alive’ until they’ve done so. So, it’s not finished anyway. I think it’s just really cool. I like seeing fan art, even though each drawing of a character looks different from another one. It lets me see a little bit how that book was finished in that reader’s mind.

Jared_A

Brandon, how do you feel your identity and upbringing as a Mormon has affected your work?

Elantris, for instance, centers around a magic system that has essentially been broken because something in the world has changed—a "new revelation" if you will. And then Mistborn has at its core a set of holy writings that have been altered by an evil force.

These things seem decidely Mormon to me, or at least informed from a Mormon perspective. Do you feel that is the case?

Brandon Sanderson

I don't set out to put anything specifically Mormon into my books, but who I am definitely influences what I write and how I write it. I'm always curious at the things people dig out of my writing—neither of the two points you mention above are things that I was conscious of, though they certainly do make interesting points now that you look at them.

My goal in storytelling is first and foremost to be true to the characters—their passions, beliefs, and goals. No matter what those are. I'm not trying to make a point consciously ever in my writing—though I do think that good stories should raise questions and make readers think.

Who I am as a person heavily influences what I write, and I draw from everything I can find—whether it be LDS, Buddhist, Islamic, or Atheist. It's all jumbled up there in that head of mine, and comes out in different characters who are seeking different things.

In other words, I'm not setting out to be like C.S. Lewis and write parables of belief. I'm trying more what Tolkien did (not, of course, meaning to compare myself favorably with the master) in that I tell story and setting first, and let theme and meaning take care of itself.

Fiction doesn't really exist—certainly doesn't have power—until it is read. You create the story in your head when you read it, and so your interpretations (and your pronunciations on the names) are completely valid in your telling of the story. The things you come up with may be things I noticed and did intentionally, they may be subconscious additions on my part, or they may simply be a result of your interaction with the text. But all three are valid.

Jared_A

On a different but related note, I really love that you honestly look at religious convictions in your books and that you don't portray such convictions in a shallow way.

Brandon Sanderson

Regardless of a person's beliefs, I think they would have to admit that religion and spirituality has played a large part in our development as a people. It's a very important thing to so many of us—and I also think that for most of us, our beliefs are nowhere near as simple as they seem when viewed from the outside. I appreciate your praise here, though I think I still have a lot to learn. There's a real line to walk in expressing a character's religious views without letting them sound preachy—the goal is to make the character real, but not bore the reader.

Questioner

How do you get the different personalities for all your characters?

Brandon Sanderson

With the characterization for me is a very organic thing. I acutally plot my plot in detail, do my worldbuilding in detail, before I start on my characters though, if I plan them out too much, they don’t have enough life to them. It’s a very weird thing to explain, but for me, what I have to do is I have to try writing through this character’s eyes, and if it doesn’t work, than I actually have to toss that chapter and try again, and often times you’ll see me start a book try a character a couple of times to get them right. And then they just grow into what they are as the plot goes along. And in fact, the characters have veto power over the plot, and so if I get to a point that I feel like a character would not do this, I have to either go back and cast a different person in this role, or...

If you are very interested in how I write, I do a podcast called Writing Excuses. And what it is is it’s through your browser, so you don’t do anything special, you just go there and press play, and it’s me and Mary Robinette Kowal who writes these books, they’re like Jane Austen with magic. (laughter) Yeah, she’s good. And it’s Dan Wells, who writes these really scary creepy books, but they’re really good, and it’s Howard Tayler. So anyways, Writing Excuses, all you aspiring writers, it’s Hugo-nominated, it's very well received, I think you’ll really enjoy it. You can look by topic, and find where I talk about writing characters, and we’ll give you a ton of advice. There’s two hours of advice on characters you can listen to.

Brandon Sanderson

It was a person I had known for my entire life: Ms. Fletcher

The Ms. Fletcher scene has some interesting things to note. First off, if you figured out before Alcatraz that the person whose footprints he was following had to be Ms. Fletcher, you’re not alone. I realize this isn’t the biggest twist ever. However, there’s more going on here than you might suspect.

Particularly with the fact that she lost her keys. That’s important. You’ll find out in book two why. Also, there’s more about her footprints that will be answered later in this book.

Questioner

The next tattoo I'm going to get will be the Oaths from the Windrunners, because they are a huge part of my life. And I was just wondering if you'd be able to give me one of them? There's two more, right?

Brandon Sanderson

There are more Oaths.

Questioner

Or if you could tell me which books they're going to come out in, so I can plan on--

Brandon Sanderson

So that's a huge spoiler, and they're recording me right now. So I can, maybe, if you promise you're not going to share this on the internet... So I can give you Oath #3. That'll be it for a while

Questioner

Okay, that's fine. I appreciate it...

Brandon Sanderson

That's the wording as I have it in my head right now. I might not use the exact words, but that's okay because the Oaths are concepts and each person who speaks them will speak them slightly differently. Like you will see in future books people speaking Oaths you have seen before, they'll be slightly reworded to match their personality. But that's the concept. You might be able to see that it's a very important thing.

WeiryWriter

Could you explain a little more about Cognitive Shadows? When you first mentioned the name and gave the examples of Kelsier and the Shades from Threnody you kind of gave the impression that they were kind of like ghosts. But this past December at the Orem signing you mentioned that the Stormfather and the mist were also Cognitive Shadows. The first makes sense to me, I had an [entire theory about that (although I argued he was specifically Tanavast’s and not Honor’s). The second however really doesn’t make sense to me, unless it was actually the mist spirit that is the shadow and that got missed in the report (it wasn’t verbatim), but even still Preservation is still alive at that point so how can he have a “ghost”? (Unless him sacrificing his mind to form Ruin’s prison counts as “death” in this situation?)

Brandon Sanderson

On the first question, I did not say the mists themselves were a Cognitive Shadow. That must have been a misunderstanding. The Stormfather totally is, though. Cognitive Shadows are basically ghosts, which can take a lot of different forms in the Cosmere, but follow general rules.

WeiryWriter

Is the mist /spirit/ a Cognitive Shadow then?

Brandon Sanderson

The mist spirit is a little more complicated than that. That was actually Leras, kind of. He was in the process of dying. But other things are involved there that, unfortunately, must be RAFOd.

Questioner

Why is it that - even though we don't see this often - you've chosen to have some of your characters swear and some of them not?

Brandon Sanderson

You know, a couple of reasons. One reason is, I honestly don't think swearing is that bad. Using the Lord's name in vain is a different thing, which you will see me not doing. I think, as a writer, words, part of me is "It's a little silly that we associate two words that mean the exact same thing." Another reason is, I feel like there are certain places I have to let my characters go further than I would. Because otherwise, every character is gonna act like I would. I tried writing Mistborn books with made-up swear words, like I use in Stormlight. It just didn't fit the world. This is a really dark world where terrible things are happening, I'm like, "I can let them use a few Biblical swear words." And it felt right to me when I did it. My fourteen-year-old sister, when she read them, she went through and crossed them all out and wrote her own curse worlds in. Mostly "poopyhead," and things like that. But, you know, it's kind of a balance, I think, every writer has to make a call on themselves. Where you kind of stand on that line. Certainly there are certain words I haven't used, even still.

I think, maybe, we're a little too focused on some things, like language, and a little less focused on... Like, I'm far more worried about the violence in the books. And I've been actively trying to decide how much I pull my punches on that, versus not. Because I think that in our society, there's too much of a tendency toward glorifying violence. But that's the cool stuff, right? I love a Jackie Chan film. So where's the line between a Jackie Chan film, which is kind of showing off what the human being can do, and a glorifying in the killing of others. And that line is one that worries me, and that I'm far more concerned on, then whether or not I let Wayne use a little bit of colorful language. But that's my personal... everyone can make their own decision.

Brandon Sanderson

Chapter Eighty - Part One

Her Eyes Lingered Fondly

If you've been keeping track, this Terriswoman is, indeed, the romantic interest I promised Micah DeMoux by the end of the book. He said he didn't care if he ended up with an important character—that didn't matter to him. He just wanted Captain Demoux to find romance. It took some working, but I managed to work it in. The story behind this is, of course, Captain Demoux and his troops showing up to lend organization and authority to the Terris people, who had been flooded with refugees.

Demoux and his men created law and order, stopping the petty theft and the like that had been a problem with the refugee bands. He essentially took command of the entire place, though he was very respectful to the Terris leaders. This woman, daughter of one of the Terris elders, fell in love with Demoux for his honor and his respectability, and he began to reciprocate.

Even as the world neared its end, she and Demoux were able to find love.

Questioner

Why was Drehy the first one to speak up for Kaladin from Bridge 4 in The Way of Kings. They were heckling him and he said "lay off of him."

Brandon Sanderson

Drehy was a little less beaten down than the others at that point. He was a little newer to being a bridgeman, was part of it. Also also he's one of those people—he's based off my friend Ryan Drayer—who is a big guy, tall, and is very used to sticking up for people, that's part of who he is. And I put his personality into the character a bit.

mooglefrooglian

You've said previously that the molecular structure of metals serve to act sort of like the Aons in AonDor. Why, then, can mists power Allomancy? Shouldn't the metals themselves be the things causing the powers? And if metals don't cause the effect, how can a non-Feruchemist burn a metalmind that has been 'unlocked' through identity tricks and get a boost of an attribute without Feruchemist sDNA?

Brandon Sanderson

I was trying to figure out how to answer this, and then I realized while driving to get a hair cut that you were regarding this wrong in a fundamental way. Remember, the source of power for Allomancy is EXTERNAL while the source for Feruchemy is INTERNAL. This is a fundamental difference discussed in the series.

When you burn metals, you're drawing power from another place. When you tap a metalmind, you are drawing power that the person has created--a battery developed by themselves, so to speak.

So I think that's going to answer the source of your confusion.

Extesian

Can you give away a Divine Breath to another human? If so would they have the same powers as a Returned or would they just 'store' it like an inanimate object that Breath is stored in when not Awakened? Does a human require a 'crack' in their spirit web to receive a divine Breath?

Brandon Sanderson

So, a Divine Breath-- you're kind of going along the wrong direction on that line of reasoning. Divine Breaths cannot be transferred. When they are used they immediately become kinetic Investiture and are activated. This manifests normally as healing the person, both body, mind, and soul, but you can't give it up, transfer it in the same way you can regular Breaths.