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Brandon Sanderson

Now, I will say there is one thing I've been wanting to do for a long time that will probably never happen so don't get too excited. But I had this awesome idea once, and these come to me, where I would write a book with Pat Rothfuss where *audience gets too excited*-- wait, wait, you've gotta hear this pitch - where we both have a set of characters who're competing for misaligned goals, like one wants to save somebody and one wants to assassinate somebody-- they've cross purposes. And we write them, and exchange chapters, and have try to assassinate each other and fiddle with each other's plots. And we get it to, like, 80% of the way done and then we send it to George Martin, and we say "read this and decide the ending and then we'll write it *audience laughter and applause*. And so the reason I want to this is so we can write on the cover, it's not "Brandon Sanderson and Pat Rothfuss", it's "Brandon Sanderson vs. Pat Rothfuss". And see who wins at the end if we can convince George not to kill all of our characters. It's never going to happen, but wouldn't that be fun?

Questioner

I wanna write books, too... One thing that really drags me down is that I'm afraid that my book is gonna be too short. Do you have any tips for beefing up your story?

Brandon Sanderson

Well, if you add paragraphs about the architecture, *laughter* and where the clothing comes from--

Number one way to add length to a book without making it feel irrelevant is to start adding viewpoints form other characters who have a different take on what's happening in the story, and by naturally adding in some of those viewpoints and giving them their own arcs, you will lengthen the story in a way that feels natural. It will start to edge it into a different genre. The more of those you add, the more it's going to feel like a different style of story, either a historical epic or an epic fantasy or things like that, so you do want to be careful with it. But if you get done and your story's 50,000 words, and you want it to be 80,000 words, that can be a really good way to do it.

But honestly, I wouldn't stress about this too much. There are fantastic books that are 50,000 or 60,000 words long that get published. I don't know how long the new Stephen King one is, but it's like 180 pages. So it's probably, like, 40,000 or 50,000 words. Like, A Christmas Carol is what, 30,000, or something like that? Write the book; practice at the length you are comfortable in. And if it's consistently a problem that things actually end up too short, then start asking about, "Can I add subplots? Can I add other characters to give a different perspective on this?" But I wouldn't stress it too much at the beginning.

Questioner

My question for you is: if you had to live the life of one of your characters from life to death, knowing what they will go through, their powers, their struggles, how they die, and what their legacy is. If you had to chose one character, male or female, who would you live the life of.

Brandon Sanderson

That is a hard question. I don't know that I want to be any of them! I would pick that one random farmer guy they pass on the road who lives a normal, peaceful life and doesn't have to end up going through all of this stuff.

Brandon Sanderson

And, as for the seon explanation here. . .well, I'm afraid that's all you get for this book. I think this is the last (or, rather, only) discussion the characters have about the origins of the seons. It's not much, but that is intentional. When I wrote Elantris six years ago, I wasn't sure if I'd ever even sell the book. Therefore, I didn't want to invest too much thought into a sequel right then. I wanted the book to stand alone, yet I wanted to give myself plenty of room to do interesting things in a series, if it ever came to that. Therefore, I intentionally left a few open spaces in the worldbuilding–things the characters didn't even know.

One of these holes is the origin, and even workings, of the seons. I have some ideas, of course, but you'll have to wait for another book before they get explained. (You can thank Moshe for what you got in this chapter–he was very curious about seons, and he wanted a little bit more. That's why we had the discussion of Passing, as well as the explanation that you don't have to be noble to have a seon.)

Lurcher

Here are the lists of things that I've noticed could be reasons why certain Herald images get chosen. I also picked up on alot of this stuff because the folks over at Tor have done a WoR re-read and have a dedicated "Heraldic Symbolism" subsection they devote for each chapter. They speculate as to why the specific herald(s) were chosen. Specifically Alice Arneson (one of the re-readers) has seemingly done some good research into this, so I'll give her credit for a lot of this.

I mostly listed these out for my own reference as I've been meaning to do so (since I usually keep them in my head when figuring this out when reading).

1. Herald themselves (mentioned, talked about, or actually has an appearance)
2. Some object associated with a herald (example: A specific herald's honorblade)
3. Member of Order (ex: Kaladin=Windrunners=Jezrien)
4. Characters portraying divine attribute behavior (example: Loving and Healing)
5. Characters portraying the inverse of divine attribute behavior (example: Hating and Destroying)

6. Herald of <concept> - things associated with that concept. Known examples: 1) Shalash: Herald of Beauty 2) Nalan: Herald of Justice 3) Jezrien: Herald of Kings 4) Taln: Herald of War 5) Ishar: Herald of Luck

7. Roles associated with a herald Known Examples: 1)Chana: Guards 2)Taln: Soldiers/war 3)Ishar: Ardents/religion 4)Vedel: Physicians

8. Essences (https://coppermind.net/wiki/Ten_Essences ): Essence, body focus, Soulcasting properties...(this one is a stretch as I've never really could pinpoint this well enough)

9. Jester/Masked face (as mentioned in other posts on this thread). This can be tied to chapters with Wit them or tied to concepts related to him, the biggest one (I think) being storytelling.

How'd I do? :)

Note: I loved the "Four Lifetimes" chapter's heraldic symbolism in Oathbringer (I'm a little over halfway through the book), but I thought that was great showing the different roles/lives Kaladin has filled: Surgeon (Vedel), Soldier (Taln), Guard (Chana), and Leader/Windrunner (Jezrien). Bravo.

Peter Ahlstrom

How did you do? Pretty much a home run. There's only one thing you're missing, which you may have implied, and that's the gemstones. Also, there's a little bit more to #5 that will be explored further later in the series.

Your "Four Lifetimes" analysis is spot-on. Congratulations.

Questioner

I wanna know how many series you're working on right now.

Brandon Sanderson

If you really wanna know, go Google "State of the Sanderson.' Every December, I go through all the series that I'm working on. I say where they are, and what I'm planning to do with them, and which ones are done and which ones aren't. So just Google that.

Questioner

Another question on that is, how do you keep your characters straight in the different books that you write?

Brandon Sanderson

Keeping characters straight isn't tough. Keeping events, which things I've said and which things I haven't... and in that case, it's a matter of having a good continuity editor. Or rereading the books before you write the next one. Once in a while, I will have changed my mind in the middle of writing a book, and I forget. So, I go trying to write the sequel, and my continuity editor's like, "You explained this already. You have this whole thing." And I still, like... Mistborn, I changed silver to tin, and I still have just never been able to remember that. My fingers want to type "silver."

Questioner

I really appreciate the fact that Steris is a character who is there.

Brandon Sanderson

Steris is my favorite character of the new generation of Mistborn. She is a delight to write about.

Aether-Wind

Given how much Sanderson tend to world build, and how integral for the WBing art seems to be for the Stormlight Archive series, how much influence do you have on the process?

Are there any examples of your input changing the WBing in a substantial way?

Isaac Stewart

I have quite a bit of influence in the process. I've answered some of this in other questions above, but one way I can think of is in the names found on the Alethkar map. We wanted to fill out the land, so Brandon gave me license to place and name a lot of the cities and features on that map, which I then showed him. He tweaked a few of the names, and then we called it good. In book three, the city Rathalas becomes important to a character's backstory. I placed and named that city (named after one of my children), so it was a lot of fun to then see Brandon later use that city for a pivotal point in a character's story.

Questioner

So there's a certain very long chapter in A Memory of Light. There's also a certain very long chapter in Oathbringer. I'm assuming you used similar techniques; both are very effective. Did you come up with that when writing Memory of Light or were you inspired by someone else for doing that?

Brandon Sanderson

Nope, that was something I had wanted to do.

So the question is, there's a very long chapter in A Memory of Light that was done very deliberately. I've used this before and in other books. Oathbringer does one, not nearly to the extent, but there's a certain point in A Memory of Light—and this was me, this was just kind of my love of trying to make the form of a novel match what I'm trying to get across with the novel.

In A Memory of Light, there was a point where the characters could not set down their swords and take a break, and I wanted to make sure that part was not divided up, to encourage as many readers as possible to have to push through it, even if it was kind of late at night *crowd laughs*, to get to the chapter break, so that they would feel some of the same feeling that the characters were feeling. And that's just my writerly way to get that across. In Oathbringer, it was more like, "This is where the breaks fit most naturally." I wasn't trying to do the same thing, but it's a similar sort of thing, where I want the momentum to not have a break until a certain point in the story. I don't anticipate ever doing-- The one in A Memory of Light was like 90,000 words, which, if you're unaware, an average novel is 80,000 words. So there is a novel-length chapter in A Memory of Light. And so, yeah-- *playfully* eh.

MarlonRand

Is there any information about Way of Kings that you can give us at this time?

Brandon Sanderson

I've wanted to do a long epic for a while. I guess that's what comes from reading Jordan and the others while growing up. And so, way back in the late 90's—when I was experimenting with my style—I started working on ideas for a longer form series. I knew the real trick for me would be to do it in a way that it didn't feel stale after just a few books; there needed to be enough to the world, the magic, and the plot arcs that I (and hopefully readers) would keep interested in the series for such a long time.

What it gives me (the thing that I want in doing a longer epic) is the chance to grow characters across a larger number of books. Dig into their pasts, explore what makes them think the way they do, in ways that even a trilogy cannot. In Kings, I don't want to do a longer 'saga' style series, with each book having a new set of characters. I want this to be one overarching story.

One of the things that has itched at me for long time in my fantasy reading is the sense of loss that so many fantasy series have. I'm not complaining, mind you—I love these books. But it seems like a theme in a large number of fantasy books is the disappearance of magic and wonder from the world. In Tolkien, the Elves are leaving. In Jordan, technology is growing and perhaps beginning an age where it will overshadow magic. It's very present in Brooks, where the fantasy world is becoming our world. Even Eddings seemed to have it, with a sense that sorcerers are less common, and with things like the only Dragons dying, the gods leaving.

I've wanted to do a series, then, where the magic isn't going away—it's coming back. Where the world is becoming a more wondrous place. Where new races aren't vanishing, they're being discovered.

Obviously, I'm not the first to approach a fantasy this way. Maybe I'm reading too much into the other books, seeing something that isn't there. But the return of magic is one of the main concepts that is driving me.

Well, that and enormous swords and magical power armor.

Questioner

Do you have a character that's your... a way to be interacting through a character through a first person viewpoint.

Brandon Sanderson

Probably the closest thing I have is Alcatraz, from the Alcatraz books. Who is my method of blowing off steam about the writing process.

Brandon Sanderson

Fantasy is a slow-starting genre. Readers expect this, and hopefully they'll invest enough in the story to keep them reading this long. I love the first half of Elantris—it does what I want a book to do. It presents fun characters in interesting situations, then laces their actions with just enough of a thought-provoking air and an edge of excitement that the reader feels fulfilled. Writing is truth, and it should deal with important topics. However, before that truth must come enjoyment, I believe. If a book isn't, first and foremost, fun to read, then I think the storyteller has failed. After that, he or she hopefully manages to deal with some real issues and questions—this is, in my opinion, what makes characters real.

Anyway, on to section two!

Maya

Before I read Oathbringer, I decided that if I had to pick an Order, I would be an Edgedancer. And then we got to the very end of Oathbringer, Mayalaran. It was very interesting, because my name is Maya, and I'm an Edgedancer, and I have long brown hair. And it kind of threw me for a loop. So I have to ask, who did you base that character off of?

Brandon Sanderson

That character is not based on anyone specific, but maybe I was channeling you somehow.

Brandon Sanderson

Vin Tries to get to Luthadel in Time

These scenes involving Vin running toward Luthadel formed one of the pivotal sequences for me during the plotting of the story. Unlike most focal scenes like this I write, however, I'm not completely satisfied with these. Not because I don't like the sequence; I think the writing in the scenes turned out very well. However, I do wonder if the tension behind them works.

You see, with the finished product in hand, the plot sequence I worked out feels just a tad contrived to me. It's hard to avoid this in novels; if you plot out as much ahead of time as I do, then often you end up with contrived sequences because they ARE contrived. You designed them to work a certain way. In these areas, however, the "smoke and mirrors" I often mention comes into play. How good is the author at hiding his hand on the work? How easy is it for the reader to feel what the characters feel, rather than being drawn into playing the game of the metastory.

If the smoke and mirrors work, then you'll feel anxiety here. Is Vin going to arrive on time? Will she get there and find her friends dead? Will she even be able to do anything if she arrives on time?

However, if the smoke and mirrors fail, the reader will feel manipulated by the fact that I sent Vin away, only to have her turn around and come back a few chapters later. The reader will think "Of course she's going to make it. That's what this sequence is all about."

Often, I'm pleased with how the plotting keeps my readers feeling that anxiety. But in this sequence, I think the author's hand shows a little more than usual. Could just be my critical eye inspecting my own work, but I see it. Hopefully, you can read and appreciate the sequence for the emotions the characters feel, rather than the slight awkwardness of the plotting.

Oversleep

At first [Skyward] was supposed to be in the cosmere. Were there any reasons you pulled it out of it besides not wanting to deal with spacefaring era of Cosmere yet?

Where was the planet supposed to be in the cosmere? Would it have had a Shard or would it have been a minor Shardworld?

Brandon Sanderson

When Spensa started life in my brain, she was late cosmere pilot character, from around Era Four. When I started to work on this as my next YA project, I decided I wanted to use a certain technological aspect from a story I'd previously worked on--something I touched on in a novella, but which was still very interesting to me all these years later. But it was something that did not work with cosmere technology, so it was a natural fit to port Spensa over to this new story.

It wouldn't have been planetary-based if it had been in the cosmere. Mostly, it was Spensa as a character. Once the story started transforming into a girl and her spaceship, the cosmere ties got severed quickly.

geoffw35

You have Jasnah give such a good argument for the atheist point of view that I thought, well Brandon is probably an atheist (as I am). Then I started watching your writing class videos. Oops! In one of them you say that you feel you can successfully draw an atheist character. I certainly agree. ;-) Jasnah does seem to lack compassion to some degree, but I insist that religion is not necessary for one to be compassionate. You draw characters wonderfully!

Brandon Sanderson

Kaladin is agnostic, which most people miss in these discussions, and is the series argument for a compassionate non-believer. Dalinar is a liberal theist, and Navani an orthodox theist.

Questioner

How did working on the Wheel of Time series change the way that you made Way of Kings?

Brandon Sanderson

The biggest thing it did was it helped me juggle a large cast. When I wrote Way of Kings the first time (this was in 2002, this was the version I sent to my editor), the story really got away from me. To the point that, when he was saying "I don't want to publish it," he said, "Do you mind if we break it," I said, "Why don't I pitch you my new thing, because I want to do a new draft of Way of Kings." And it was because the characters, there were too many of them for me to juggle at that time. And working on the Wheel of Time, I had to learn how to juggle a lot of different characters very quickly. And by the end of writing the first one... I actually, after writing Gathering Storm, called my editor and said, "I think I can do Way of Kings now." Which is why Way of Kings came in such a weird place. It probably would have been better to write all three Wheel of Time books and then done the Stormlight Archive. Then you wouldn't have had a four-year wait because I had to finish four Wheel of Time books in between. But I was really excited at that point, and I had learned so much, and I'm like, "I have to write this book right now. It's in there; it's gotta come out." And so I took six months. And that draft was six months to write it, which is the fastest I've written in... basically, ever, for something that long. But I had already written a draft of the book. I did start on page one again, and write all the way through, and I changed a fundamental decision made in the first chapter. If you have read the first book, when you come the line you can ask about that if you're curious. But it's a spoiler for Way of Kings for me to tell you what I changed between what I call now Way of Kings Prime, the 2002 version, and the 2010 version that you guys read.

Questioner

Was Androl, from Wheel of Time, your own creation?

Brandon Sanderson

Yes. When I went into the trilogy I actually asked them "Is there a character I can have to just do whatever I want with?" and they looked through for one Robert Jordan had left no notes on and they gave me Androl. I went crazy.

Questioner

I love his use of Gateways.

Brandon Sanderson

He was a little bit of a pressure valve, for me, being able to do the things I like to do in a novel, in The Wheel of Time, so I didn't then take over other characters too much. A bunch of me creeped into Perrin too but...

Brandon Sanderson

So, today I think I’ll post part of a proposal I’m working on for Tor. I’m going to send this to them, so that Tom Doherty can read about my plans and goals for the future before he and I meet in New York next week.

Enjoy.

Introduction

Writing is art, but publishing is business.

I’ve always believed that in order to succeed in this field, I would need two things. First, I’d need an excellent work ethic. Second, I’d need an eye toward my eventual goal of becoming a professional writer. When I started writing in earnest seven years ago, I realized that the chances of any one book getting published were slim, even if it was a superior manuscript. Therefore, I didn’t let myself stop writing–I figured that the more books I had to send out, the sooner I would get published. When Moshe finally called to purchase ELANTRIS, I was working on my thirteenth novel.

This background gives me an advantage, I think, over other first-time authors. I understand my writing style far better than a writer sold the first book he wrote. I know what I do well, I know what people enjoy from my books, and I have had time to hone and practice my craft. I also have a great wealth of intellectual property in the books I’ve already written. I don’t want to publish any of those books themselves–readers deserve to get books that represent my best and most current skill level. However, the ideas and settings I developed in those previous works can provide models for what to do in the future.

My foremost distinguishing attribute as a writer is my ability to create interesting settings and unique magic systems. I don’t use the standard fantasy setting–nor do I even use an iteration of it. I strive to push this genre to its full potential, giving my readers something new with each book. Another of my strengths is my ability to push my books’ plots toward dramatic climaxes with well-foreshadowed surprises and twists. I also think that I have a flair for witty side-characters and powerfully-motivated viewpoint characters.

My weaknesses are offshoots from these strengths. My books build slowly sometimes, and so the first quarter or so of a given novel tends to be the slowest. My books also have very steep ‘learning curves,’ meaning that because they have original settings and magic systems, it can be difficult for readers to grow accustomed to all of the new elements. Finally, I’m not a brilliant prose craftsman, though I think I’m getting stronger in this area. One of the things I’ve learned during my years practicing is how to focus my books around my strengths as a writer, while at the same time minimizing the effect of my weaknesses.

I’m at an interesting point in my career. My original goal, that of getting published, has been met–indeed, I’ve succeeded beyond what I dared dream was possible. I’ve been picked up by the most prestigious publishing house in fantasy, and am releasing a book in hardback.

However, getting published was always just a step. My real goal is to build a career as a writer. You don’t do that by publishing one great book–you do that by publishing a great book, then publishing an even better one the next year, then an even better one the year after that.

I can do this. However, I realize the need for a plan. Therefore, I’ve begun to look at the various books and series that I’ve written recently (within the last year) or am planning to write very soon. I’ve never published before, so I’m not sure which direction to take my career. Therefore, I developed this list of my most promising new and upcoming works so that I could get your advice on what plan I should use during my next five to ten years of writing.

Summaries of five series I’ve been developing follow. At the end, I’ll give a summary of my thoughts regarding my future.

Jessica

In Shadows of Self a few characters use some variation of "Hell!" as an exclamation when things go awry. I don't recall any reference to "Hell" as a place or philosophy in the religions of the Mistborn series. How does this word fit into their world, does it differ from our own?

Brandon Sanderson

The characters in Mistborn have been using "biblical" curses since book one. This was a specific choice made on my part, as I want the "feel" of Mistborn to be like London in the early 1800s. All of my books are to be read as if there's a phantom translator who took it from the original language and translated it into English. In many cases, there isn't a word that is an exact translation—so the translator does their best.

In The Final Empire, there was indeed a kind of "hell." Though there wasn't a specific idea of a devil—it was just the punishment ascribed to the souls who failed or disobeyed the Lord Ruler. Even the skaa knew of this, though religion was forbidden them. So it was a more vague sense, than specific theology, to them.

carmen22

When it comes to crazy plot twists, fascinating characters, magic systems, humor, religion, etc., what do you feel, for you, is the hardest part to get on paper or come up with?

Brandon Sanderson

I would say that the most difficult parts have to do with getting a character's internal conflicts (if they have them) right. Sometimes, this can take a lot of exploration. Sazed in Mistborn 3 took a LOT of work before I was satisfied.

Second hardest is getting the humor right, particularly witty style humor like in the Lightsong sections of Warbreaker. There are frequently times when I spend hours on a single line in sections like that.

Tortellini (paraphrased)

Someone asked if it were hard to write Jasnah, an atheist character, for a devout Christian.

Brandon Sanderson (paraphrased)

Brandon said he read a lot of atheist message boards for inspiration. Also, it sounded like he'd had the character in his head for a while, but hadn't found the right book to put it in—e.g. he said it would make no sense to put an atheist in a world where gods walk around (i.e. Warbreaker).

Brandon Sanderson

Chapter Fifty-Three

Sazed Defends the Gate

The Sazed fights scenes interest me because of how much of a contrast they are to the Vin fights. Sazed's scenes are so brutal–strength against strength, blunt fighter against blunt fighter. Vin fights with grace. Sazed is just trying to stay alive.

I worked a lot on the plotting here of making Sazed's gate hold so long. When I planned the siege of Luthadel, I knew that I would need a very deep, character driven set of scenes with Sazed. It was the only way I felt I could add something new to this plotting sequence. The heroes defending their city during a siege has been done before. (One notable example being in The Lord of the Rings.) I was worried that I would be bored of writing these scenes, and so I decided to head that off by focusing in on Sazed here, who I thought would approach a battle like this in a new way.

I don't know what readers thought, but I found myself drawn very much into writing the scenes, which is a good sign. They up going longer than I'd anticipated, which is another good sign. Something about the contrast of the quiet religious scholar in the middle of such a terrible war was fascinating to me.

So fascinating, actually, that I forgot to write Ham into any of the scenes in these chapters. I didn't remember him until about chapter fifty-five. It was then that I remembered that the best warrior in the group had disappeared for the entire fight. So, I wrote him in, and added him to this chapter where Sazed gets to Breeze.

You'd be surprised at how often writers do things like this, forgetting a character. It's a tough call sometimes to keep track of everyone who is involved in various parts of a complex plot. Don't even get me started on the challenge of keeping track of everyone while writing in the Wheel of Time world.

Questioner (paraphrased)

Something carefully worded about how he isn't opposed to having a major character of Stormlight 6-10 arc be dead before the books started and would he do that in a style like in Mistborn: Secret History.

Brandon Sanderson (paraphrased)

Kudos from Brandon on carefully wording it to avoid MB:SH spoilers and the very consistent answer that if Brandon did so, the character would be the focus of the flashback sequences in those books, and then once the flashback is over they'd be dead, so no one is safe for the book until the flashback sequences are over.

Questioner

You mentioned earlier that the Mistborn magic system is basically a Periodic Table of Elements. How would that affect the study of science in creating the whole Periodic Table?

Brandon Sanderson

If you can see what's happening on Scadrial, even in Era 2, they have a disproportionate amount of understanding and study of metallurgy, and they are not nearly as good at other things. So it's affected where they spend their focus and their research. Like, they don't have the radio, when they kind of should. They had to get it from some other places, the idea of that technology. So really, what's happening there is, I'm trying to keep it close ('cause Scadrial is an Earth analogue), but at the same time show what they're stronger at and what they're weaker at. It has influenced the way they approached science in some interesting ways.

We won't find out a lot more until Era 3, where one of the characters is more interested in the science. Because the characters in Era 2 are mostly interested in shooting people and perhaps creating interesting mixed drinks. And finding lost coins. (Steris.)

Questioner

So I know the last Alloy of Law was a standalone book, not part of the next trilogy. Is this book [Shadows of Self] the start of the next trilogy?

Brandon Sanderson

Yeah. This is not the start of the actual, official next-- Like-- So, I'm calling these books all Era 2, I moved the next books to Era 3, but this is the start of a trilogy about Wax and Wayne.

Questioner

Is that why they're kind of shorter?

Brandon Sanderson

Yeah. Well they're kind of shorter because I wanted something to balance Stormlight that was-- So like Stormlight you have to keep track of all these characters and they have this continuing storyline that is so deep that it's-- you kind of have to re-read each in the series each time. I did not want you to have track that in another series, any of my other series. That's why both Steelheart and Mistborn now you will see the self-contained stories, where certain things-- it's a trilogy, but it's keep track of one, or two, characters, not keep track of an entire thing. And then there's an arc and done, an arc and done, an arc and done. That is intentional. So, you might see Stormlight stories more that length when I go back to... Scadrial for longer stories.

Questioner

So there's still going to be another trilogy that's more modern and then a sci-fi one?

Brandon Sanderson

Yes there's still going to be a modern trilogy and a sci-fi trilogy.

Questioner

How do you make good characters, good heroes, and good villains. How?

Brandon Sanderson

That's a big question. Best thing I can tell you is, try to look for the nobility in every person, even if you may not agree with them yourself. Listen to the character. Every person is a hero in their own story.

Pagerunner

Let's use a time machine and change the past. Let's say you aren't asked to finish the Wheel of Time, and instead fix Liar of Partinel. How do you think the Cosmere fan experience would have been different if mysteries like Hoid and the Shattering had been explored earlier?

Brandon Sanderson

Boy, this is an excellent question, and it's hypothetical enough that I can ignore my cheeky answer to time machine questions, [which] is always, "Don't go back in the past. I've seen that story too much."

In this case... Liar of Partinel. Liar of Partinel did not work. I had already abandoned it and started working on The Rithmatist. So, if I had not been asked to finish The Wheel of Time, most likely I would have thrown myself into The Rithmatist more. And then, the question becomes, would have I decided to do Way of Kings? Or would I have gone and taken another stab at Liar of Partinel? And for your hypothesis, I will say that I did that. I don't think I actually would have. I think that I was disappointed enough in Liar of Partinel and realizing that this wasn't the right time, that I would have gone a different direction.

But, for the hypothetical, let's say I did. What would it have changed? Certainly, I don't know that I would have gotten all the way through the Hoid series before starting Way of Kings. More likely, I would have done Liar of Partinel as a standalone, then done something else, and eventually released Book Two of that. Because, remember, back then, I had envisioned this as a seven-book series. I was looking for a big epic to do, and I thought, "Let's do the Dragonsteel series. And I'll do several books about Hoid. And then I'll do the full story of Bridge Four," which was then on Yolen, not on Roshar. So, you would have gotten that story on Yolen instead, and then, who knows where that would have gone. When I release Dragonsteel itself (which won't be too much longer), you guys will be able to read the earliest version of Bridge Four, back before Kaladin was involved, and it was on Yolen. So, I think, at that point, we would have learned more about Hoid, but we probably wouldn't have pushed all the way to the Shattering, I don't think.

But, hypothetically, let's say I do. I don't know how much of a change that makes, honestly, over Stormlight. Knowing the personalities of the three Shards involved and a little bit more on Hoid certainly would change your perspective on them, but Stormlight, assuming... I mean, it's so hard to go into these hypotheticals, because if I write Dragonsteel with Bridge Four, then Bridge Four isn't in Stormlight. It's very hard to imagine where Stormlight goes. It's possible that I make it completely Taln's story, and Stormlight becomes a five-book series, which focuses on what's going to be the back five. That would be my best guess of where that would go. So, instead of ten books, you get five books, and we focus on Taln as a main character. And Kaladin just vanishes. We don't have Kaladin as a character. He's replaced by whoever takes the lead in Dragonsteel. But, of course, the flip-flopping, what actually happened is, Dragonsteel shrunk to three books that focus on Hoid, 'cause I realized I was doing in Stormlight all the things that I intended to do in Dragonsteel, and they were working better in Stormlight, and I no longer needed that Bridge Four sequence in Dragonsteel because it worked so well in Stormlight.

So, it is hard to say what exactly would go on. You would know the personalities of the Shards, how about that? You would definitely know who they are. You would know a lot more about Hoid.

Questioner

I would like to know how do you make cultures so vibrant?

Brandon Sanderson

So, dig deep rather than go wide. One or two cultures that play off of each other in an interesting way, where you've considered a lot of the ramifications, are gonna to be better than trying to create thirty different cultures. Try to keep focused on what's going to be important to the characters and the books, and try to spend your worldbuilding there. So like if the characters are going to have conflict over religion, spend time on religion. But if instead they're going to have different linguistics and that's a source of conflict to them, spend time on the linguistics.

Talbertross

Do you have the "end state" of the Cosmere in your mind? Do you know where, thirty years or so from now, where the main characters will be once all major Cosmere series are finished? Or do you plan on having them end at all?

Brandon Sanderson

Yes, I have a plan--but remember, we'll be dealing with a lot of new characters by then. The goal is not to take everyone you're reading about now, and have them appear in the final books. Some will persist, but my end game is more focused on events.

Brandon Sanderson

Nightblood Origins

I've been wanting to do a book with a talking sword for some time. Sentient objects are a favorite theme of mine from fantasy books I've read, and I think you'll probably see more of them in future books from me.

The magic sword is its own archetype in fantasy, even if there haven't been any good magic sword books among the big fantasy novels of recent years. Perhaps that's because Saberhagen and Moorcock did such a good job with their books in the past. I'm not sure. (I don't count appearances of magic swords like Callandor in the Wheel of Time. I mean books with major parts played by swords.)

Anyway, that's a tangent, and I'm certain that half the people reading this can think of examples and exceptions to what I just said. Either way, this is a theme I wanted to tackle, and the magic system of this world lent me the opportunity.

Nightblood is another favorite character of the readers. I think his personality works the best out of any non-viewpoint character I've ever written. He doesn't get that much dialogue in the book, but it is so distinctive that it just works.

Jasonioan

Have you ever written a character name that you have no idea how to pronounce? *laughter*

Brandon Sanderson

Have I ever written a character name that I have no idea how to pronounce. Oh boy, I got to have, right? Like Rock's real name uh, Numuhukumakiakia'aialunamor, maybe? But most of the Hornearter things I just can't, I'm like what? But even some other ones… The thing is that sometimes I don't pronounce them the right way. Like I say "Kel-see-er" in-world they say "Kel-see-ay" because it is French, the original core I was using so you get things like Vin Demoux and things like this which are French terms or French names or French words, and Kelsier, I say his name "Kel-see-er" but I'm an American. 'Murica.  I say it like an American would but you are free to pronounce the names in the book however you want to.

Questioner

Where do you come up with your leaders, because they're phenomenal.

Brandon Sanderson

It takes a lot of reading and thinking and coming up with who the character is. I don't know how do any of the characters-- they just kind of come, but there is a lot of hanging out on forums where people are talking about leadership positions in the military so I can kind of get a view on how they're thinking. Sun Tzu was very helpful as well.

The Book Smugglers

What can your fans expect from The Rithmatist, as compared to your other adult novels? Was it easier or harder to write for a YA audience (or was there anything different about the writing process for this particular book)?

Brandon Sanderson

That's an excellent question! I wouldn't say it's either easier or harder. For me, a story grows in my mind till I just can't ignore it anymore, and I have to write it. That certainly happened with The Rithmatist.

As for what I did differently, there are a couple things. When I work on a teen book, I usually try to focus the viewpoints. That's one of the big distinctions for me between an epic fantasy that has teen characters—like the Mistborn books—and a book that I've specifically written for a teen audience. I usually focus on a single character—maybe two—so the narrative is a bit more streamlined.

The other big difference here is that I really wanted to write something with a sense of fantasy whimsy to it. I say whimsical, and it might be the right term, and yet it's not. For example, the magic system is one of the most rigorous and specific that I've written. I hope readers will find it as interesting as I do—with the defensive circles and the different types of lines.

With my epic fantasy books like The Way of Kings, for example, I looked at the size of the planet, its gravitation, its oxygen content—all the sorts of things that allow me to worldbuild with some scientific rigor. I consciously didn't want to do that with The Rithmatist. I replaced the United States with the United Isles, turning the country into an archipelago. I shrank the planet, and I did really weird things to the history of the world because I thought it would be fun. For example, I let Korea conquer the world, because I'm a fan of Korean history.

It's not like I'm sitting down and saying, "What is plausible?" I'm sitting down and saying, "What is awesome?" Then I write a story in which that awesomeness can shine. I let myself do that in my YA works more than in my adult works to give them a different feel. Writing this way allows me to exercise different muscles.

I believe that children and teens are better able to mode shift. When they pick up a book, they don't necessarily feel that it has to fit in one of the genre boxes. As an author, that allows you to do some interesting things in teen that are harder to do within an adult genre. 

Brandon Sanderson

I'm sorry for killing Karata. It felt like the right thing to do right here, even though my readers universally disagree with this decision. This is a very important series of events. If I didn't have any real danger for the characters, then I think earlier events–where characters did die–would come across feeling more weighty. Karata and Galladon throw themselves at a troop of armed soldiers. There was no way for that to end well.

(By the way, none of the readers have even batted an eye about Eshen's death. I guess she got on their nerves.)

TheTetress

Some of the characters (I think it was Sarene) in Elantris mention that the constellations in their part of the world look like Aons. This seemed kind of odd to me. How significant is this, and does it play a role in how accessing the AonDor works (or do they just love astronomy)?

Brandon Sanderson

The characters in Elantris claiming that constellations look like Aons is mostly akin to us thinking that constellations look like animals--if you're looking for patterns, you'll find them.

Questioner

So, is she [Rysn] going to get a novella maybe?

Brandon Sanderson

Rysn is probably not going to get a novella but Rysn is a character who's going to have a nice novelette in each story, in the interludes. Maybe not quite to novelette length on each of them but she, in each of the first five books you will get a scene from Rysn.

Questioner

I think she's a very interesting character because in a way she epitomizes what you just said about being exposed to different cultures and--

Brandon Sanderson

Right, that's kind of her thing, is she goes and visits the different cultures of Roshar.

Questioner

And then we get to visit them too. 

Brandon Sanderson

Yeah. She's got a potted plant, she's got some grass actually, there's some grass that doesn't respond to the storm. So she's one of my favorites, I intend her to be in each of the interludes and have her own kind of little story running through the books.

Questioner

So now we know, when you think about--

Brandon Sanderson

Absolutely, there is a Rysn point of view in Oathbringer.

Questioner

My friend is mad at you about the last of the Librarians series.

Brandon Sanderson

Okay, well, it's not the last. Because, tell them to look at the page at the very end end, some people missed, another character-- Alcatraz wrote the last one, another character refused to let be the ending. She is going to write an actual last book. There's a last page hidden in there.

matgopack

About your characters - they're always a lot of fun to read about, and varied. Do you have a method while coming up with them and their personalities/motivations that you use?

Brandon Sanderson

Character is the most difficult for me to pinpoint my process on because I do a lot of experimenting, trying different things, and searching for the right voice. The most important thing for me tends to be finding a way this person sees the world that I want to explore more in depth.

Questioner

What was your favorite Mistborn character to write? Personally I hated Elend and Vin but loved Zane.

Brandon Sanderson

Oh wow, hated Elend and Vin and loved Zane… *stumbles over words* I'm going to stay away from you. *laughter* I'm just joking. Who's my favorite? *sighs* Picking a favorite character is almost impossible, it's who you're writing at the moment but I kind of have a weird personal connection in a weird way with Sazed so I'll say him. And it's okay if you say "Sah-zed" I say "Say-zed" but I don't say everything right, I say "Kelsi-er" too and his name is "Kelsi-ay".

Brandon Sanderson

Since I have a little room here, let me mention something I've been wanting to talk about for a while. Vin's name. I realize that a lot of people read this name and think of a man—it is, after all, the name of a current action hero.

I didn't even make the connection. When I was developing this character, I wanted something that was quick and simple. I'm not sure why, but I felt a single syllable name was important for this hero. It indicated her somewhat base, street-wise nature, I think. Simple, straightforward, but not weak.

Vin was, however, originally a boy. The hero of Final Empire Prime was a young boy named Vin. When I pulled some of those character concepts over to this novel, I realized that making the hero female worked so much better. Some of the original Vin's conflicts hadn't ever felt right—the abandonment issues, the blunt attitude. They just all worked better with Vin being female. I knew I'd written an entire book with the hero being the wrong gender the moment I tried writing my first sample chapter of Mistborn with Vin as a girl.

Brandon Sanderson

The Salvation of Elantris

Yes, Raoden lets the Dakhor monks go. That's the sort of thing that happens in this book. If you want something more gritty, you can read Mistborn. (Which is gritty for me, though nowhere near the genius sadism of George R. R. Martin's books.)

I like having this scene from Lukel's viewpoint. If nothing else were gained from his other sections, I think the scene of the Elantrians emerging from the flames would be enough to justify his viewpoints in these last few chapters.

So, anyway, that's one major plot line finished. Elantris has been restored. Most fantasies, however, are about characters more they are about plot. I love great twists and revelations–but the book isn't over until the characters are fulfilled. So, onward.

PaganButterChurner

Are you Kaladin? Which character do you most identify as?

Brandon Sanderson

I'm not Kaladin, and I'm certainly not Hoid. I'm probably closest in personality to Sazed or old Dalinar, but not really a match for either. Really, every character has some of me in them, but none are me.

Brandon Sanderson

Alcatraz, My Boy!

Here we get Grandpa Smedry, introduced for the first time. As I believe I mentioned earlier, I wanted this book to be a subtle satire of some of the books on the market in fantasy. Not a full-blown satire, of course–I don’t tend to like books like that. They’re forgettable. Instead, I wanted something that had its own world, magic, characters, and story–but something that also occasionally took a subtle shot at the fantasy establishment (of which my other books are a part).

I love fantasy. However, what I loved about writing these books was that I could strip away some of the self-importance and seriousness. Standard epic fantasy, as a necessity of the genre, takes itself very seriously. These books don’t. That doesn’t mean that I don’t want the stories to have structural integrity or good storytelling; it just means that they can be a little more silly at times.

All of this leads to why I wrote Grandpa Smedry the way I did. I wanted a wise old mentor character. We’ve seen plenty of the type–Belgarath, Gandalf, Dumbledore. However, I wanted to make him a total spaz. Hence Grandpa Smedry, who’s a great Oculator and a very competent person–but who is also a complete spaz, and who is sometimes his own worst enemy.

His curses, by the way, are all the names of my favorite fantasy and science fiction authors. (In no particular order.) So, in this chapter he curses by Melanie Rawn’s name and Robin Hobb’s name, I believe. That’s only the beginning. [Assistant’s note: Terry Brooks and David Gemmell are also sworn by in this chapter.]

Brandon Sanderson

Allomancy's Mental Effects

An interesting side note is to watch how Allomancy—all of its forms—enhances the mind in some way. Though the original concept for the magic system focused on different powers—some physical, some mental—the final product always had a mental component. Notice how, when burning tin, Spook is more able to focus on solitary conversations in the room. Or how his mind can filter out the mist or the cloth he wears. Burning pewter or tin will also make the mind more alert and awake. Burning atium not only lets one see a little bit into the future, but also lets one process that information in a useful way.

The mind is such a big part of what makes us who we are. I wanted Allomancy to impact the characters—to have an effect you could see on the minds of those using it. As I've stated, one of the places where books can outshine television or movies is in the ability to see exactly what is happening inside a character's thoughts and emotions. By adding a mental component to each of the Allomantic powers, my hope was to play off of this strength of the written form.

Brandon Sanderson

Vivenna Visits Lemex

In the very early planning of this book, I intended Lemex to live. He was going to become a mentor figure for Vivenna, and have the very personality that she described him as having in her imagination. Spry, quick-witted, intelligent.

So I decided to kill him off.

Why? Well, it's complicated. On one hand, I felt that he was too much of a standard character from one of my books. The witty mentor is not only a stereotype of fantasy, but something I rely upon a lot in my writing. (Though, granted, many of those haven't been published—however, Grandpa Smedry from the Alcatraz books is a great example of this kind of character.)

I also felt that Lemex could too easily be a crutch for Vivenna in the same way that Mab could have been for Siri. The idea was to keep these sisters consistently out of their elements, to force them to stretch and grow.

Instead, I upped the competence of the mercenaries and decided to have them play a bigger part.

Brandon Sanderson

Chapter Six

So, here's a little of the jovial friendship that I mentioned in the last annotation. One of the things I like about these books IS the way that the characters can get along and relax. It's a bit tougher to pull off in this book–with Kelsier gone, and with everything falling apart–but it's still there, where I can squeeze it in.

Spook is a character I groomed through the first book to do more than you might originally expected from him. He doesn't really come to his own for some time yet, but you should be able to see changes start to appear in him–subtly, of course. You'll see a lot more from him later on in the series.

Questioner

What's the character on [the UK Oathbringer cover]?

Brandon Sanderson

That is Jasnah. I think. I am almost 100% sure.

Questioner

I wasn't sure. There's a bunch, there's a few different characters that could all fit, so I wasn't certain.

Brandon Sanderson

I sent the same description of the scene near the end with the wall to both artists and that's basically what they came up with.

Brandon Sanderson

Chapter Sixty Two - Part One

Some Notes

Here we have another of my attempts to space out climaxes. Sazed's character climax—the first, and perhaps most important of his climactic chapters—comes here after Spook's climax, but before the book really begins to end. I hope I squeezed this into the right place.

Before I talk about Sazed's revelation, however, let's do a few notes. First off, Spook is alive. Yes, I let him live. He earned it, for one, and for another, there is something very important he still needs to do. You'll see.

Either way, I think—with the number of viewpoint characters I've killed in my books—that I've earned the right to have someone survive a very dangerous situation like Spook went through.

Questioner

So I know your kids are probably too young to have actually read your books but are they familiar with your characters and if so do they have favorites?

Brandon Sanderson

They're not familiar with my characters. They-- Seven, five, and two.  The seven-year-old is starting to get old enough where I could maybe read him books, but I don't want to read him my books first. *laughter* I want to read him stuff like Dragon's Blood by Jane Yolen and things like this.  We'll let him read my books if he wants to.

I remember I was reading an interview with Tad Williams once and he said "People ask, you're a famous author, how do you stay humble" and he said "Well the other day we all went out to dinner as a family because I finished a book.  And my son said 'What's the celebration?' and he said 'Well I finished my book' and his son said 'That's a good job, finishing reading a book.'" *laughter*