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Questioner

What’s the most dangerous non-Shard thing in the cosmere?

Brandon Sanderson

Nightblood’s up there, Hoid is up there, but not deadly dangerous, a different type of dangerous, yeah no, what we know of, right now, those, those are in the running. Chasmfiends, chasmfiends are pretty nasty. Whitespines are a little more nasty probably. The… the Unmade are pretty nasty. Yeah. There’s a couple of mercenary troops that you haven’t met yet that are really quite, quite dangerous, I would list them as well.

Questioner

How would you pronounce Rock's full name?

Brandon Sanderson

I usually get this wrong. *apprehensively chants the name* I think, but there might be something in there. It actually means... in Horneater you don't have to use a pronoun at the beginning, which is one of the weird things, you usually start with a verb. It means something along the lines of "I saw a beautiful wet stone that no one is paying attention to, but it was really cool because of the water pattern on it." Right, like, that's what his name means, and it kinda just means "Hey, appreciate the beauty of nature." Its kind of a little Horneater, their version of the haiku. The meaning is "Nature is beautiful, don't walk past the beauty of nature and ignore it." But his name actually kinda means "lonely, or forgotten rock". But "I saw a beautiful rock washed by rainwater that everyone is ignoring." Anyway, it doesn't translate all that well, I'm using a bunch of weird Asian and Indo-European language structures for this so it's not real easy to translate to English.

Brandon Sanderson

Human's Origin

Human is a very special koloss. He's quite a bit older than most, his creation running all the way back to before the Lord Ruler's death. He was originally the leader of a rebellion out in the southeast—the same area where Clubs spent his youth fighting. Human, then known as Vershad, was one of the more successful leaders of the wasted men—those who live out in the desert outside the borders of the Final Empire, but come in to raid and steal supplies from outlying villages.

Charismatic and intelligent, he managed to keep his band alive even once the Lord Ruler turned his attention on them. Rather than ravaging villages, Vershad would convert them—quietly, carefully—to his side and get them to give him supplies. In turn, he would "raid" them and destroy the lords' mansions, causing chaos and letting the people get a sideways revenge against their masters. In the chaos, it would be assumed that the raiders got away with the skaa food, and it would be replenished.

The Lord Ruler tired of such games and eventually sent his koloss against Vershad and his men. As clever as they were, they weren't able to stand against a well-laid betrayal and ambush set by an Inquisitor—one who controlled a troop of koloss. The raiders were slaughtered, and Vershad himself was turned into a koloss for his crimes.

He retained enough of his determination and his intelligence, however, to make a remarkably clever koloss. (There is some variety to koloss, based on who they were before the transformation.)

Brandon Sanderson

Chapter Seven

Siri Enters the God King's Chambers

This is one of those chapter breaks that is there for stylistic drama more than anything else. Thematically, these two chapters are really the same chapter. However, I wanted to break before she steps in because it works so well as a dramatic turn in the story.

I've had e-mails asking me about how to decide when to break a chapter. Honestly, I'm not sure how to answer this one. Breaking chapters isn't something I plan; it's something I just do. A good chapter should have a nice arc of its own, with rising action, a climax, then perhaps some brief falling action. (And thinking of that, you can probably see why chapters five and six can be considered a single chapter in this regard.) But there's not a real science to it—break where it feels right.

Anyway, Siri's entrance here is probably the first big climactic moment of the book. It's where I've been pushing the novel since the beginning, and is one of the focal scenes for this book. (The scenes that I imagine and develop before I being writing, which then propel their section of the novel.)

Questioner

..One of things I had difficulty with was coming up with names for the characters and seeing how your names are more than just random collections of letters, a lot of them actually have meanings behind them. I was wondering how you were able to do that.

Brandon Sanderson

That's actually a very good question and number one you should keep writing, even if you feel like what you are writing is a rip-off, it is better to finish that first book and be acknowledging your influences because you want to be practicing. And sometimes it is very useful to lean on something else while you do it. In fact this is how Great Masters did artwork, you can find-- I don't know if you guys know this-- various different versions of the Mona Lisa, we saw one in Spain, my wife and I, that was done by DaVinci's student while DaVinci was painting the Mona Lisa. "Here's what I painted now you do it too"  That was the means by which the Great Masters would train their students, so leaning on someone is just fine. You just can't publish it like that, but it can teach you a whole lot. Don't feel bad about that.

Names, I use two general methods, and this is not going to give it the justice it deserves, I'm giving you the five minute version. One version is I look for the linguistic attribute that is interesting to me that will visually distinguish these people on the page. So when you are coming across them and you see that name, I want you to say "I bet that they're from this country". That is really tough because that means they all have to feel similar but you can't let everyone get confused over who's who and that's the real challenge, it's the getting confused. For instance in Warbreaker I tried using some different things like we don't in our world. In Warbreaker I used repeated consonant sounds, so you get someone like Vivenna, when you see that double v, you are like she must be-- Llarimar, there's a double L, you pronounce them both out. T'telir. And when you get double repeated consonants you are like "Oh they are from this region, that makes sense to me even though they start with different letter there is something to them" The same sort of thing is supposed to happen in The Way of Kings, you see names that are mostly symmetrical. When you see something like Shallan and her name is a derivation of Shalash, who was one of the Heralds and its a symmetrical name. When you see something that reads almost, or does read, forward and backward the same way you are like "They must be either Alethi or they must be-- They've got to be Vorin because that is the Vorin religion influencing this". And hopefully it will give you some subconscious cue when you run across those names and you'll get it.

Now a way to do this that is easier is than doing all of that is going to take a lot of work linguistically is to go get yourself a nice atlas and say everyone from this country is going to have names that are analogous to this region in our world and I am then going to take this atlas and look for these names and use baby names from that culture... I did this in Emperor's Soul, I just picked ancient Persia, I picked people who lived there in this era and what they named their cities there and I'm going to take those words and I'm going to screw with them until it is not actually a word but it feels like it might be one. That way everyone from this region is going to feel like they've got a similar name. Or I can just-- For that book it was much easier because the linguistics were not as big a deal.  I could basically just crib off the bat. And that works very well also.

Sometimes I do it intentionally, Mistborn was supposed to evoke a sense of 1820's Paris, or London, that was what I was shooting for with the grime and the dirt, the ash falling. So I used French names and Germanic names and Spanish names and things like this, so when you run into Vin, Vin is just wine in French and Kelsier [Kelsi-ay] is how they would say-- you can say Kelsier [Kelsi-er] if you want-- and they have Kelsier and Demoux so you can go "Oh this is a French sounding region" so when you get some like Elend and Straff you are like "They are from a different region. They sound like the eat meat and potatoes and they try to conquer Europe periodically, those guys" *laughter* That helps you distinguish the regions very easily.

Glamdring804

In Way of Kings, Jasnah recommends to Shallan the Devotary of Sincerity. Their motto is "There is always something more to discover." That sounds very similar to our favorite Mistborn psychopath's saying; is Kelsier connected to that at all?

Brandon Sanderson

RAFO.

Huffletough880

The fight between Kal and this new Fused is already one of my favorites and had my heart pounding. I always find the detail in your fight choreography so well defined and visceral. Have you trained any martial arts or done in depth research on fight techniques?

Brandon Sanderson

I use a lot of research--but also rely upon the help of people who know more than I do to tell me when I'm going wrong. My personal martial arts abilities are too laughable to be call the result of "training."

meh84f

When you mentioned the Fused grabbed Kaladin in an "arm triangle", were you referring to the Jiu-Jitsu move? Because that is a specific Jiu-Jitsu hold, but it’s usually done from on top of someone rather than behind. Like this: https://www.studentofbjj.com/wp-content/uploads/2017/02/arm-triangle-1024x724.pngBut then the Fused was behind him and stabbing him, so that made me think perhaps you didn’t intend it to be the Jiu-Jitsu position.

Brandon Sanderson

I didn't intend this to be the official position.

Questioner

You've mentioned before Adamant as maybe a universe where you can invite people to work with you.

Brandon Sanderson

Yeah I've definitely considered that. Adamant is a science fiction novella I wrote, which I would love to do some continuing adventures of this starship and have some guest writers. It's difficult because, as a writer it's very hard to let go of anything, that's what I found. I did one story with a friend of mine, Ethan, who I did it with him because he's in the military and I've never been in the military, and I wanted to write a story that was kind of military science fiction-ish. And so we wrote a story together, and it's a great story, it's called HARRE, and you read it in English but-- It turned out really well but it was so hard to let go. Really hard to let go and let someone else do it, that's a flaw in me I think because the story turned out great, but I'm worried about doing that more in the future. Just if-- I'm worried whether or not I'll be able to let go of the story and let someone else put their stamp on it.

Questioner

So how about the other way around though. Would you be interested in working in somebody else's, like for example Dragonlance. You did something like this in The Wheel of Time, working with a pretty fine set of constraints--

Brandon Sanderson

Yeah it was a little different in The Wheel of Time because I was given complete creative control. So I could do whatever I wanted as long as I could convince Robert Jordan's widow that it was the right thing for the story. If I convinced her then it worked. But I very much could create whatever-- craft whatever story I wanted. In a lot of shared universes the constraints are much more binding. I wouldn't be opposed to it. I've certainly done-- I worked with some friends who make video games and worked on some stories with them, so I've done it before. I wouldn't be opposed to it. It would have to be the right thing.

Questioner

Or a Magic: The Gathering story?

Brandon Sanderson

Yeah a Magic: The Gathering story, I could totally see myself writing one of those one day.

Brandon Sanderson

Is there a particular Magic: The Gathering, I dunno, what are they called-- universe?

Brandon Sanderson

Yeah, yeah, they've got a Gothic core universe called Innistrad, with a-- It's just I love classic Gothic horror, and it would allow me to play with some of those tropes. You know, the zombies banging on the door and the werewolves howling in the night, and things like that, that I probably would never do in one of my stories.

Questioner

How does Nightblood work on Roshar?

Brandon Sanderson

Well Nightblood feeds on Investiture, which is the general life-force/magic-force in the cosmere and so he can feed on basically any source of magical energy.

Questioner

And do other magics work on other worlds?

Brandon Sanderson

I've been describing it lately more like you see DC current and AC current, where they're similar things but slightly different. It is possible to make magics work on other planets, some it's easier than others.

Argent

I enjoyed the story a lot. Davriel was a lot of fun to read about, as was Miss Highwater. I wish I had interesting things to ask about them, but I just don't know enough MTG lore to come up with anything - which leads to my first question:

• How can a guy learn more about the lore of MTG?

And, a related question:

• Had I been more versed in MTG lore, would I be able to recognize specific spells or creatures in this story? Davriel's eyes changed color a few times when he was casting, I figured the color might match either the color of existing spells or what you felt his spells would've been, had they been actual cards.

Brandon Sanderson

MTG lore is pretty deep (and at times, a little confusing.) I'd suggest the Dominaria stories written by Martha Wells for sheer writing quality reasons--even though they might be a little more confusing than some others. You could also go back and read the stories set on Innistrad (this plane) during the Shadows over Innistrad story sequence.

If you'd known the lore, you'd have picked out little things here and there. But they would have been easter eggs, mostly.

Questioner

Does bronze detect Investiture or only Allomancy?

Brandon Sanderson

Investiture. It can be used for other things. But like most detection methods, it doesn't look for wells of power, it looks for power that's being used, generally. You get enough power together, and bronze will be able to find it no matter what.

Phantine

Have you seen the Deep Forger?

https://twitter.com/DeepForger

It seems like once the processing time comes down a bit, it'll be a pretty powerful tool for doing concept art and rough outlines, but I'm not really into the illustrating business. What are your thoughts on it?

Ben McSweeney

It's pretty neat, but it's worth noting that what Deep Forger does is create an approximation based on certain distinct styles of painting, and then applies that effect to a photograph. It's not doing anything particularly creative, it can't produce a Monet or a Picasso from scratch, without input. And from looking at the samples, it seems that most of the time the photographic source origins are still pretty clear. Sorta the same way rotoscoping rarely fools anyone into thinking it's hand-keyed animation.

That being said, I'm often impressed by what I see people doing with Zbrush and other 3D sculpting software and then applying the right lighting and render techniques to create some very illustrated results. The trick is that it often takes as long (or longer) to produce content that way as opposed to illustrating it traditionally. The advantage is that you can often do a LOT more with a well-sculpted 3D model, even when it's a static object.

I don't feel that traditional illustration as a craft is particularly at threat, because the real value in an illustrator isn't in the skills their hands produce but in the brains that come up with ideas and new applications and twists, and that's some next-level AI stuff.

Digital painting has totally changed the landscape in which we work, but it hasn't changed the heart of the illustrator... just the tools. As such, we'll always be using the most effective and efficient tools that we can, but the fundamentals that lie beyond tools and techniques haven't changed much.

Phantine

Yeah, I guess my real question is more along the lines of 'does this seem like it'll be a useful tool, and where would that fit in your normal workflow?'

Ben McSweeney

I don't think it'd fit in the workflow of what I do... I could perhaps see some potential for it to serve as a method for creating photobash assets that would more easily merge with a larger painting (like serving as a method for creating backgrounds, if you have the right location or can dress a set), but part of the weakness of something like Deep Forger is that it requires an existing image to manipulate.

A huge part of what I do is visualize and illustrate things that don't exist, and often can't exist in the physical world. I can source reference and I do, pulling ideas from here and there to flesh out the kernel of a concept, but ultimately I don't have anything more than description and design mandates to build from... and that's something a computer can't quite do yet. Someday... maybe.

Matthew Peterson

Well, you do give a lot of advice, don't you? I mean you teach creative writing classes.

Brandon Sanderson

I do.

Matthew Peterson

Do you still do that? Even with all this on your plate?

Brandon Sanderson

I still do it. But I only teach one class a year nowadays. So, it only lasts for about three months. But I feel a need to do that because it was in that class when I was an undergraduate, long ago, that I got the final bit of information I needed, it was the final kick in the pants, so to speak, to go get published.

It was taught by David Farland at the time who was just doing what I'm doing. He was a professional writer. He was just stepping in to teach the class for a few years. And he gave me real world publishing advice, gave the whole class real world publishing advice. A lot of creative writing classes are very touchy feely. That's a good thing; they'll talk about the feel of writing and how to grow a story and all of this stuff. But Dave was the first one that came in and said, "Look, you can do this for a living. I'm going to tell you how and we're going to talk about the nuts and bolts of creating a story." And that was wildly useful to me. And so I feel a need to go back, when I have the opportunity and explain to new writers, those same sorts of things.

lightylantern

I'm fairly invested in the pairings of The Stormlight Archive, with my favourite being Jasnah/Szeth. Do either of these two have any romance planned in their future?

Brandon Sanderson

I am purposefully vague about upcoming romantic pairings in my books, because most of the characters would not want to be defined by their romantic inclinations--and at the top of that list is Jasnah. So I'll remain quiet on this one for now. Sorry.

Flambo

How long did it take to write each book? Did they seem to be done faster than Rhythm of War and Skyward?

Brandon Sanderson

Yes. So, first books and standalones write faster. Particularly, they revise faster; that's the biggest part. They outline faster, and they revise faster. The longer and more complex a book gets, the more time it takes to make sure... Let me give you an example. Most of these... in fact, each of these is kind of just singular narrative. One of them has multiple viewpoints, but the other ones are single viewpoint books. Like a normal novel. When you write that way, you don't have to balance two perspectives' pacing. Balancing two perspectives' pacing actually increases the difficulty of a book quite a bit, because you don't wanna have lulls where three or four chapters of characters doing the same thing in their respective plotlines happens. You can do it with two, and you can contrast pretty well with two; but once you have three, if you have characters hitting the same kind of emotional beats, three chapters with three different characters, it gets tedious. You feel a monotony to that. And that's not an influence on how strong each of their individual stories are; each of their individual stories could be really strong. But suddenly, because they hit, a strange lull in conversation; everything becomes noticeable, and whatnot. So you have this added complexity of making sure that you are doing different things in different stories that create a pacing momentum, rather than a pacing speed bump. The more of that you do, the more complicated and difficult a book gets to write and revise.

So, these wrote more like Skyward One or Mistborn One. Even though Mistborn One had multiple viewpoints, the fact that I wasn't doing this and having to juggle taking a character arc from a previous book and expanding upon it in a way that felt nature... Like, expanding on a character arc is always harder than writing a new character with a character arc, because you don't want that character to, again, hit the same beats they hit before. You want them to grow, but you also don't want to ignore what's happened before with them.

So, these sorts of things are faster writes. And that, I don't think, has a dramatic influence on the quality comparison. I think single viewpoint books can be just as enjoyable. Some of the best books I've read recently are single viewpoint books. But it does mean that the complexity of interweaving viewpoints goes down, and the books just get faster to write. That's one of the reasons I could do these, rather than doing sequels to things that people are expecting and anticipating.

Stephen Kundy

If you were to write Elantris now, with all the writing experience that you've gained over your career, would you change anything?

Brandon Sanderson

Yeah, there are a lot of things I would change about Elantris. I have an autistic character in Elantris that I did not do a very good job with. It's more of a pop science version of autism than it is an actual in-depth look at what it is to live with autism. My prose is pretty rough, back then. Prose has never been my strongest suit, granted, but I do think I've gotten a lot better over the last twenty years. (Published fifteen, but twenty years ago, I wrote it.) I think my prose has improved dramatically over the years, and I think my ability to do dialogue has improved, and a lot of things like that.

Would I change any major plot features of Elantris? No. I'm actually fairly pleased with Elantris, plot-wise. There are aspects to it, right? I mean, Raoden's character arc is primarily externally driven. He is not a character who is going through a big change internally. But that was intentional. When I sat down to write it, the book I had written right before was about a deep and angsty character who had one of these very, very dramatic character arcs. And I was tired of angst, and I wanted somebody who dealt with external pressure in a fantastic way and was put into a very extreme situation externally and was someone who was kind of a little more like me in that that didn't really faze him, and he did his best with the situation. And I like that aspect of it. It does mean that some people who read it think Raoden isn't as deep as someone like Kaladin. Which you are perfectly fine in thinking that, but I think they are just different types of characters. I wasn't trying to write somebody angsty in Raoden, and I am pleased with how he turned out.

Sarene, as a character, was always kind of me trying to write someone who was a little more confident than they, perhaps, deserved to be. And that's a personality trait of Sarene. I actually, when I was plotting Stormlight, I once described Jasnah to someone in my writing group as "the person that Sarene thinks she is." And I like that about Sarene. She's young. She's got gumption and grit. And she's not quite as capable as she thinks she is, but you know what? Thinking you're capable can get you a long ways, as long as you have a minimum level of capability. And she does.

And I'm very proud of Hrathen as an antagonist. It has taken me until The Way of Kings and Taravangian to find someone that I feel is as strong an antagonist as Hrathen from my very first book. I'm still very pleased with how he turned out.

Brandon Sanderson

First Line and Lightsong's Origins

Lightsong's character came from a one-line prompt I had pop into my head one day. "Everyone loses something when they die and Return. An emotion, usually. I lost fear."

Of course, it changed a lot from that one line. Still, I see that as the first seed of his character. The idea of telling a story about someone who has died, then come back to life, losing a piece of himself in the return intrigued me.

The other inspiration for him was my desire to do a character who could fit into an Oscar Wilde play. I'm a big fan of Wilde's works, particularly the comedies, and have always admired how he can have someone be glib and verbally dexterous without coming across as a jerk. Of course, a character like this works differently in a play than in a book. For a story to be epic, you need depth and character arcs you don't have time for in a play.

So, think of Lightsong as playing a part. When he opens his mouth, he's usually looking for something flashy to say to distract himself from the problems he feels inside. I think the dichotomy came across very well in the book, as evidenced by how many readers seem to find him to be their favorite character in the novel.

17th Shard

Originally, it was said Way of Kings Prime had spoilers for later Stormlight. But we've released it now. Why is that? Do you still feel it has spoilers, or do you think it's safe or fine?

Brandon Sanderson

I think it is fine, though it still has minor spoilers. The whole thread with Dalinar and Elhokar, I felt, was a pretty big spoiler. Because a very similar relationship played out in the published books, just with different results. I thought that one's a spoiler.

I felt that some of the Taln stuff is slight spoilers. But one of the things that worked passably well in Way of Kings Prime is the question of, "Is this guy a Herald, or is he crazy?" That was a central theme for him. And that whole arc got transposed to Dalinar. "Am I seeing visions, or am I crazy?" Whole thing got transposed, and I knew by the time I was into the actual published versions of the Stormlight Archive, I knew by then that I couldn't do the same thing with Taln. We'd already had a plot cycle like that, plus I was going to be introducing the Heralds, and it was going to be very clear that the Heralds are back and that the Voidbringers are here. And so the question of "Are the Voidbringers actually coming back? Were the Heralds real?" Thats, like, a major theme of Way of Kings Prime. And that cannot be a theme of the published version. And so, for a while, I was still holding onto the hope that maybe I can do something like this with Taln. And eventually, I said, "No, I just can't." It would be too repetitive and what-not, and that's part of what made me realize it's okay to release Way of Kings Prime. The stuff that happens to Taln is going to be so different from where I'm going to be taking him moving forward that it's okay.

There's still some minor, slight things that are still gonna show up, but it would be hard to pick out what those are. And when they happen in the actual series, you'd be like, "Oh, I can see the resonance of this to the original." Just like the Elhokar/Dalinar thing (which is more overt) resonates through that one into this one.

Argent

Are mandras gravityspren?

Brandon Sanderson

*Very hesitantly* Nooooo? Kind of-- So the actual gravityspren, you're talking about the things Kaladin saw stuck to the wall? Those are not mandras.

Argent

Oh no, I was thinking about the ones that appear around dead chasmfiends.

Brandon Sanderson

Oh, dead chasmfiends, okay. Yyyes. The arrowheads, yeah.

Argent

But you're saying those are not gravityspren, they're--

Brandon Sanderson

Well--

Argent

--they're mandras?

Brandon Sanderson

I am not-- Yeah. I am-- So the things Kaladin saw stuck to the wall are not gravityspren, right? But I want to make sure-- So arrowhead spren, that Shallan is philosophizing, theorizing about, are mandras.

Mason Wheeler (paraphrased)

Before the Shattering, the original 16 Vessels, how Cosmere-aware were they and were any of them worldhoppers? 

Brandon Sanderson (paraphrased)

In the current continuity, they were not worldhoppers.  Well... the dragons were the most Cosmere-aware.  They might have been off-world.  Might have.  

Questioner

What’s your favorite part about touring? Like the q&a’s or the readings?

Brandon Sanderson

No, the readings get old.

Questioner

*inaudible*

Brandon Sanderson

Well each signing I’ll do a different little speech. The q&a’s are more fun because they are different. The reading gets a little old, but the first few times it is good because I’m refining it and it’s fun. So, I’ll say the actual interactive part is my favorite.

Questioner

*inaudible <compares signing to marathon>*

Brandon Sanderson

Though I will admit that sometimes the best part on tours is going back to the hotel and going to sleep. But that really depends on how late the signing is going. Like starting at 4, it’s easy here.

Questioner

What’s the latest you've ever gone?

Brandon Sanderson

I’ve gone ‘til 5.

Questioner

AM?

Brandon Sanderson

Yeah. That one started pretty late but they went pretty late. Normal signings, 1 or 2, is as late as they go.

Questioner

Sah-zed, that's how you pronounce it, right?

Brandon Sanderson

Well, it depends on who you are. You can say it however you want. It's said all different ways in the books. Because he is Terris, and everybody's just kind of saying his name, right?

So Kelsier says Say-zed. But in world, he would say something more like Sahz-d, not Say-zed, himself. But I say Say-zed. You can say Sah-zed.  Some people would say that.

Questioner

How did you design the mistcloak cloaks?

Brandon Sanderson

Because it looks cool, obviously!

Questioner

It is highly impractical!

Brandon Sanderson

Not if you're Mistborn! The only trouble we really had is stepping on the tassels. 

Questioner

And getting tangled up in them.

Brandon Sanderson

Well, a lot of the tassels, a lot of the ones for mistcloaks we've made, use thicker material in them, and they lie straighter, and they don't tangle nearly as much. As long as you don't make them too long, 'cause if you do, you step on them, particularly on stairs... We've got some costume persons that work-- you'll find, if you use a thicker, stronger material-- yeah.

MagisterSieran

How would you compare writing this novella to the Wheel of Time books you wrote? Both have treasure troves of existing lore and characters and both are fantasy media that you're a fan of.

Brandon Sanderson

It was a similar experience in some ways--I had a lot of creative freedom in both cases, for example, and I had a lot of lore to draw upon.

For the WoT, though, I was very, very steeped in the lore--and made sure I did another deep dive before writing the stories. Here, I have familiarity with a lot of MTG lore, but there's a lot I don't know. I haven't read most of the fiction, particularly the older fiction, for example.

So for WoT I felt confident taking main storylines and resolving them, while for this, I tried to create my own sort of sectioned-off part of the plane to play in. Then I created my own lore for that area that I could control more specifically--traditions and lore that were related to the well-known places on Innistrad, but not exactly the same. That way, I could play with them, and undermine them, and do what I wished with them.

JuakoHawk

Since you too acknowledge the massiveness of this world you built, have you ever considered letting some of your writing group pals or closest friends write short canon stories about any of the side characters in SA? Like an Arcanum Unbounded but with lots of stories from the POV of various side characters?

It would be amazingly interesting, not only to get more info on some of our favorite characters, but it would let other styles of writing bleed in and mix among this wonderful world of yours (and we, as fans, get more Stormlight content without you having to burn out from writing all these side stories)

Brandon Sanderson

I've been toying with this, and it's possible in the future, but we're taking baby steps. First will likely be Isaac (who is my art director and long time collaborator) who will probably be continuing the Taldain graphic novels, with a Khriss-focused story set on Darkside.

At the same time, I'm planning to do a few more audio novellas like The Original where I collaborate with people like Dan Wells.

Whether I do anything similar with Stormlight will really depend on what the readers think of these experiments. I would enjoy doing a book of canon stormlight short stories that are written by other people who want to explore characters that there isn't as much time for in the narrative--but I'd be very careful and cautious about it, and would want to ease into the idea by trying other properties first.

yahasgaruna

Is this the first you've talked about this? I was wondering the other day whether there had been any update to how the story from White Sand would move forward since the graphic novels have caught up with your prose novel.

Brandon Sanderson

It might be. It's something he wants to try, and I think it would be an excellent collaboration, since he's much better at visual storytelling than I am.

Questioner

In terms of books that you wish you could have written yourself?

Brandon Sanderson

I read a lot of things for pleasure. I think I need to stay up on what everyone else is doing. As a teen, my favorite writers were Anne McCaffrey, Melanie Rawn, Barbara Hambly, Robert Jordan, Tad Williams, it would probably be. David Eddings too. I grew out of David Eddings, happens when you get into your twenties, but during my teens he was the bomb. Do kids still say that, the bomb? I'll have to figure out what they're saying now. Nowadays I read Pat Rothfuss, I really like Pat, I really really like Naomi Novik's Uprooted, if you guys didn't read that this summer it's a fantastic novel. I like Brent Weeks' work a lot, Brian McClellan's, Nora Jemisin, you guys read NK Jemisin? She writes very literary fantasy; if you're an English major and you like that kind of stuff, which I do, it's amazing. Her most recent one has a character who writes in the second person, and it works. It's the first time I ever read a book where the second person, which is you do this, you do that, it actually works, it works really well. The second person past tense, so you did this, you did-- it's a person telling themselves a story so it actually, it really works. The Fifth Season. So, yeah, I read a lot of stuff.

RankWeis

I've been thinking about the Parshendi and I guess this is as good a place to ask as any - when the parshendi change, there's an obvious change in the physical realm, and there seems to be a change in the cognitive realm as well. Is there a change in the spiritual realm? I know we haven't dug much into it, but it seems like a change in the spiritual realm is very difficult or impossible - if you could change in the spiritual realm is it really the same 'thing' at the end of the process? Mostly I'm curious about the first question...the second question is more of a philosophical train of thought.

Brandon Sanderson

Things in the spiritual realm do change, but subtly. For instance, a person's spiritual component knows how old they are.

mbue

I understand that your novella will stand very well on its own, but I'm sure there will be references to existing lore. Could you point out any existing MtG novels that would particularly increase our understanding and enjoyment of some details in yours?

Brandon Sanderson

Davriel is partially a contrast to Liliana, a main-line character who also has had dealings with demons (but has done it much differently...) and who is a necromancer (exactly of the sort Davriel would hate.) I think reading about her might make for a fun contrast. She's heavily involved in the previous Innistrad story, which you might enjoy if you liked this one. You can find it on Wizards site: https://magic.wizards.com/en/content/shadows-over-innistrad-story

windolf7

Is Ashyn the Tranquilline Halls?

Brandon Sanderson

RAFO.

faragorn

Actually, my theory is that Braize is both the TQ and Damnation.

Gamers will all be familiar with the concept of rezzing after you die, often at a specific place.

The legend is that humans were forced out of the TQ and followed to Roshar. If Odium attacked and conquered Braize, and Honor created the heralds before he and Cultivation moved humans to Roshar, then the heralds might very well be rezzing on enemy-held Braize each day as described in the WoK prologue. Against the combined armies of the entire planet they get ganked as described in the prologue, only to rez the next day (kind of like the rez timers in World of Warcraft :-)).

WoR confirms that Braize was called Damnation, but I think it is now damnation, and was once the TQ.

Brandon Sanderson

Excellent theories, strange gaming parallels notwithstanding.

Questioner

You sold the rights for Mistborn for a movie, right? How is that coming along?

Brandon Sanderson

I have had no major updates, I'm afraid. You know, I really like the script. They're pitching it in Hollywood. They're good guys, the producers are. The script is really awesome and is pretty faithful. It's adapted in the ways that adaptations need to happen. Like it's really cool, like the beginning they did this thing where they said, "You know, we really need to focus the movie on Vin, so the opening needs to be on Vin instead of Kelsier." Which is a really good move for a movie like that that's got such a shorter length of time. So, you know, they start with Vin and Reen, actually. And you know, Vin being part of a heist that goes wrong, with her brother, and things like this. And you know, there's changes like that that thematically, you know, are the same concept as the book but then work really much better in the only two hour block that you have. Then Kelsier is a mysterious figure who invites her in and recruits her into the team, which works much better in that format. So there's changes like that.

There's this really cool prologue where they start the prologue with the march up the mountain toward the Well of Ascension, a thousand years ago and an interaction there that changes into a stained glass window and then you see stained glass windows of the interim periods until you hit the Final Empire. So there's some really awesome stuff.

So, we'll see if this actually ends up working or not. Again, if your father is the owner of Warner Brothers, go and put in a good word for me. We're kind of long shots because all we are is an author and several producers who have no major credits to their name. And I sold it to them specifically because- you know, I sold Alcatraz to Dreamworks for a lot of money and then I just had to like say goodbye to the project and I like what they did with it but it was basically they took the project. And I, for Mistborn, wanted to have more control which also means my chances of actually getting it made go down quite dramatically. Ask Orson Scott Card how long it took to get made Ender's Game made and you will see the same sort of thing, but then he's getting it made his way, eventually. So that's what I'd like to do with Mistborn if I have that option.

Brandon Sanderson

Tertiary Book Projects

Legion

I owe people another (and final) Legion novella, and I plan to do this as well. Novellas aren't as big a commitment as novels, obviously—that's part of why I do them. But I don't know when I'll squeeze this in, with all the things I'm doing right now. It could happen literally at any time—but I don't expect it in 2017, to be honest.

Status: On Short Hiatus

Octavia

With Steelheart, every superhero I've worshiped as a kid was pretty much blown to bits and replaced with the scariest bunch of "supers" I've ever seen. How did you come up with the idea to take superheroes (and even today's, not even close to epic level, villains) and make them so amazingly evil?

Brandon Sanderson

I was on book tour, driving a rental car up through West Virginia when someone aggressively cut me off in traffic. I got very annoyed at this person, which is not something I normally do. I'm usually pretty easygoing, but this time I thought to myself, "Well, random person, it's a good thing I don't have super powers—because if I did, I'd totally blow your car off the road." Then I thought: "That's horrifying that I would even think of doing that to a random stranger!"

Any time that I get horrified like that makes me realize that there's a story there somewhere. So I spent the rest of the drive thinking about what would really happen if I had super powers. Would I go out and be a hero, or would I just start doing whatever I wanted to? Would it be a good thing or a bad thing?

Brandon Sanderson

It is hard for me to keep in mind more than one big change for a book [while revising]. I can do it, but it's hard; it's a challenge. And fortunately, the way I write books is, generally I only have one big change per plot cycle or per viewpoint. Like, I can say, "For this viewpoint character, my big focus change for this is changing this part of who they are. This character needs to be more proactive." That's one of the ones that I had for the new Stormlight book, is there was a character that just wasn't proactive enough. And I'm like, "I need to change the way that they're viewing their life, and add a few scenes in appropriate places that up the character's proactivity."

That was separate from a different character, where I had approached some of the mental health things the wrong way, and early beta readers were able to point me the right direction on how to do it better. And that character, I didn't change structurally their plot; I changed their response to it, and then a few places where that response did require some major changes. But I could have them on mind: this revision, I'm doing this for this character.

And I had, like, three of those in my 4.0 draft. And for all the other characters, I could say, "In this, we are just focusing on tightening-normal-prose sort of cleaning." And that way, when I went to the 5.0, if there were things for those other characters, I could feel that I had already done the prose tightening for them, and I could get into some more of the problems they needed, and I was able to keep the big changes in my head for the other characters. And then, in the last draft, I was able to do the prose tightening on their viewpoints. And that worked really well for this specific book.

Brandon Sanderson

The Koloss Named Human

Human is another reader favorite from this series. He completes a cycle of characters I'd conceived from the beginning of the series.

In each book, Vin is given an assistant—someone to watch over her and guide her. In book one this was Sazed, who Kelsier charged with watching over Vin. Eventually, Sazed became his own force in the books and could no longer fill this role. At that point, Elend asked TenSoon to watch over her, and he became her attendant for book two. Now in book three, TenSoon is a viewpoint character in his own right and Vin is left without an assistant.

Human fills that role for this book. I had planned him to have a much larger place in the novel than he eventually got—I intended to do something more like with TenSoon in book two, where Human was always accompanying Vin. However, I feared repeating myself in that way, as the TenSoon/Vin relationship in book two worked so very well. I didn't want to do another story about Vin and her inhuman companion growing to trust each other and becoming friends. So, I reduced Human's role in the book. A koloss would make a terrible sidekick anyway.

Brandon Sanderson

Introduction

Welcome to the annotations, being written at long last.

Normally, I do annotations for a book while going over the copyedit. That all started to change in 2009 when my time got very short due to finishing the Wheel of Time novels. I also started handing the duty of "Go over the copyedit and see if they are changing anything I don't like" to Peter.

That left no chance for the TWOK annotations. I told myself I'd need to re-read the book before starting the sequel (Wheel of Time work was going to keep me from getting to it for a few years) so I'd do the annotations then.

Well, here I am, in late summer 2012. The Wheel of Time is done and I feel an urgent need to get the sequel to TWOK written. I'm sitting down to read it in depth as I tweak my outline, so I thought I'd try writing out some annotations for you all. We'll see if I manage to get through the entire thing.

As always, if you're reading the novel for the first time, I will try not to spoil anything coming up in the book. If I do have comments that spoil later surprises, I'll hide them using the spoiler function. If you're reading an annotation for a given chapter, I will assume you've read that chapter and everything leading up to it.

I'm not going to edit these annotations (no time) or do any revisions whatsoever. (Peter might do a proofread, but that's it.) So I'm going to make some mistakes, and the writing is going to be rough at places. Take this for what it is: me sitting down and having a conversation about the book, giving a behind-the-scenes look. Extra facts I throw out in the annotations can be considered canon, but understand that I'm writing quickly and might make mistakes.

Brandon Sanderson

August–November 2012

mraize7

Can [Kelsier] and [Hoid] be friends or companions or allies?

Brandon Sanderson

Well, anything CAN happen--but for now, I'll let their interaction on screen speak for itself.

But feel free to imagine anything you would like, for yourself. It will be a while before I can get back to this particular interaction.

Brandon Sanderson

There are two major foreshadowing elements in this chapter as well. The first is what Vin does with Sazed's bit of metal. She can't reach the power because she didn't store it. The implication is that if she WERE able to store attributes as a Feruchemist, then burn those metals, she could tap this extra power. Also, Kelsier's discussion about the Valla religion is supposed to just make him look apprehensive. What he's really doing, however, is reconfirming that the death of a leader will make a people stronger, not weaker, in resolve.

Duiker8

Is the fact that The Way of Kings and rest of the books in the series are going to focus each one on a different character connected in any way to the fact that both The Gathering Storm and Towers of Midnight focused each one on a pair of characters?

Brandon Sanderson

No, not really. Most of my plans for The Stormlight Archive go back years and years to before I was working on The Wheel of Time. I would say that the The Gathering Storm/Towers of Midnight character split happened because of the book split, less than any real planning on my part. I had the character arcs and decided which ones would fit well together if I was only going to be releasing one batch of them at a time.

So the answer is no, but with the caveat that with the way my mind works, it may have been working in the same way in both cases.

Questioner

I can't really remember very well, but I think only Kaladin really says Radiant Oaths in the books, at least. So, for Shallan to have as many powers as she does, has she already said one of the ideals, and we just don't know?

Brandon Sanderson

...You have her glyph whisper one. And you have seen Dalinar say one. So, most of them say them. Shallan's Order, they admit truths. Their Oaths are a very different sort of thing.

Questioner

'Cause I know, I did read that, but I was wondering-- it said somewhere else that all the Knights Radiant have to say the First Ideal.

Brandon Sanderson

Yes, they do have to do that.

Questioner

So, she has said that.

Brandon Sanderson

Oh, yeah, she has said that. That is somewhere in her past.

Questioner

Which, presumably, we'll find out about some other point in time?

Brandon Sanderson

Possibly. I think that can be inferred.

Lance Alvein (paraphrased)

The deleted prologue [of The Emperor's Soul] with Hoid in it - is there any chance of that being put online?

Brandon Sanderson (paraphrased)

It will be online, and it will probably be bundled with the ebook version as well.

DrogaKrolow

Do you think that writing on a high level is a matter of talent or is achievable by just hard work?

Brandon Sanderson

I have no idea. I would like to think that it's hard work but I do know that talent plays a part in that as well. I would say that it's 10% talent 90% hard work but if you don't have that 10% talent it can be really hard. So I don’t know. I feel like I started off really bad at this. And wrote a whole bunch of books and got pretty decent but I also know that I do have some natural talents.

Questioner

Would Allomancy affect Shardplate or Shardblades?

Brandon Sanderson

It cannot affected Shardblades. Well, "cannot" is a strong word. Things with innate investiture are much more difficult to affect with any of the magics at all. Which is why it's very hard, for instance-- Szeth is not able to bind people, or Lash people wearing Shardplate to the ceiling. In the same Allomancy would not be able to Push on it without some help. Duralumin and a really strong [Steel]Push could probably do it. 

Questioner

I was just wondering if it's actually metal.

Brandon Sanderson

Oh yes. It is metal-ish... it is metal enough for Allomancy to work on it.

Questioner

My commute to work has given me the opportunity to make my way through your youtube lessons and I’m now listening to the writing excuses podcast, so I consider you my favorite professor. I apologies if you have covered this in some form, I may not have listened to that yet.

My question is about flashback scenes. When thinking about where I’m going in my story, I imagine needing to use flashbacks, although I haven’t yet. My question is – what method do you use instead of a flashback? How do you give a sense of what happened and previous info without using a flashback?

Brandon Sanderson

Hey! Good luck with your writing.

That’s a great question, because often you don’t want to use a flashback. You have to be very careful with them, for while they can do some interesting things with narrative, they can also kill story momentum dead.

My favorite way to indicate things that have previously happened without using flashbacks is to make certain your characters act like they have established history together. They will have inside jokes, will make references to the past, and otherwise indicate that they’ve known each other for years. (Where appropriate.)

Likewise, things that happened in the past that you don’t intend to show in a flashback can have a huge effect on society. Think about the 9/11 disaster in America, which many are talking about this month. Could you convey in your story that similar disaster happened, but without going into too much exposition or a flashback? Practice trying it with real-world events, making your characters talk about it naturally. (Without straying into them telling each other information that they’d both obviously know. Like I didn’t need to say to you, “Well, almost twenty years ago there was this terrorist attack on the United States…”)

Practice subtlety like that, and often you won’t need flashbacks. (And it will perhaps teach you when a flashback is more powerful or useful for you to use.)

Questioner

You pulled Apocalypse Guard, will it ever come back?

Brandon Sanderson

I sat down with Apocalypse Guard and looked it over and since I couldn't decide what was wrong with it, I actually gave it to Dan Wells, who's a friend of mine, and I said, "Dan, can you figure out what's wrong with this?" We broke in together, we've been in writing groups together for a long time, and he read through it and he's like, "Yeah, I've got some ideas." So I actually, you know, wanted to work with him, so he actually jumped in to try and do a draft of it himself, and he fixed a lot of the problems, but he didn't fix the biggest problem, which is that the worldbuilding doesn't work.

Which is a really weird thing for a Brandon Sanderson book, but it's part of the reason we can't release it. I can't release a book with bad worldbuilding. I just can't. So while he fixed the characters, I still need to fix the worldbuilding. If I can, we will release it. If I can't, I'm sure even if I don't ever release it, I'll find a way to put it on my website or something like that. So you would be able to read it, and if we do release it, I'll make sure to release it in the failed version too for those who are interested so you can compare. So I think it's really illustrative to see how a professional fails.

Joel

Are the Heralds from Stormlight inspired in any way by the watchers/angels from the Book of Enoch?

Brandon Sanderson

Well, yes, there's a roundabout answer to this. The Heralds started as me wanting to do fantasy angels, some sort of fantastical angel thing, because I knew I was gonna be doing the Shards of Adonalsium and things like that, and I wanted something that was basically lower tier. And the first idea was for someone who thought they were one of these mythical angels come back to save the world, and then we weren't sure if they actually were one or weren't. And this ended up in Way of Kings Prime, and I (for a long time) was not sure if I was gonna make this person actually an angel or not. So I'm gonna say "yes" to this one, because it was a direct attempt to build something like "servants of god" sort of thing that go and work among people was the inspiration.

Czanos

Would anything interesting happen if an Allomancer Burned a Hemalurgic spike, or a Feruchemist Tapped one?

Brandon Sanderson

Er, well, it’s possible. But you’d have to be burning a Hemalurgic spike that killed you and took your power…

Just like you can’t gain anything by burning a metalmind unless you infused it yourself.

Brandon Sanderson

Say I'm excited about this, but I'm going to stake a claim on the panel's official cabbagehead position. Every time I'm on a panel or doing a podcast it is good to have a cabbagehead. Which is, I'm the writer, right? My job is, I've found, to know enough about these things to be dangerous, so if there are writers out there and you're feeling a little overwhelmed by this, here's how I approach it. I, when I was first writing epic fantasy I found out a few of these things, and I'm like, "Oh no, this kind of destroy the types of stories I want to tell."

But the more I learned the more I realized, no, it can shape the types of stories I want to tell it doesn't have to destroy them at all. What I did was I used this kind of rule, that is it takes actually a fairly brief amount of time to become dangerously knowledgeable in a subject. Like say, if you can get yourself 20 or 30 percent of the way there, you know enough to know what you don't know. My goal is to always get myself there with research, usually on pop-history books or pop-medicine books or things like this. Write my stories, and then to find an expert, which I've used extensively, particularly in the Stormlight books, where one of my characters is a field surgeon, that's his training, and go and say "What am I doing wrong?"

Usually, the response I get from the medical professionals is "Wow, this isn't nearly as bad as I thought it would be, you're still wrong about a ton of things. But you don't have to rip apart your story, the fundamentals are there, you know that a gut wounds is really dangerous and often takes a long time to kill. You know about these things and you are trying to deal with them and approach them. I can give you some tips to make it more authentic." That balance has just worked wonderfully well for me. 

Arcanist

Most of your heroes are true traditional "heroes", because they want to be useful for the family/society/other, and they often lack selfish, "dirtier" motivations. Will we sometimes see characters, who are not villains but are rather egocentric?

Brandon Sanderson

Kelsier. :)

Expanding that, however, I feel that in general, other people are telling stories about "dirtier" characters and doing it well. I don't feel characters who are generally good characters are any less realistic, however--in fact, almost everyone I know is more like Vin or Dalinar. They want to be good people, they TRY to be good people. Fantasy has taken a very dark turn in many ways, and this is fine, but it is not the type of story or characters in which I am interested.

That doesn't mean I won't ever do it. There are some far more borderline characters mixed into some of the series, but they are more the exception than the rule.

ILikeBreadsticks

If you could design a new mechanic for Magic, what would you make? Thank you!

Brandon Sanderson

For my own Mistborn custom cube, I designed a mechanic that cared if a card was sleeved or not. It couldn't work in regular magic, of course, but in the context of a cube that is already pre-sleeved, it played very well. Basically, being sleeved equated to being protected or shrouded in the mist. You could give up your protection to become stronger, sometimes, but it made you more vulnerable. (There were many cards, for example, that could only destroy unsleeved cards.)

Questioner

You've touched on [The Emperor's Soul], are you going to write a bigger one about that?

Brandon Sanderson

It’s unlikely because I think it works so well as it is. But you will probably see Shai again at some point.