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We usually see multiple magic systems in a world, are there more magic systems in Warbreaker that we haven't seen yet?
No, there's just the one system in Warbreaker, and it's also a world with only one Shard on it.
When will be see the whole Cosmere-concept (Shards, the plans of Hoid) at the level of the books? In the third Mistborn trilogy or earlier? In which books do you plan to finish the "hidden story" which connects all your earlier books?
Third Mistborn Trilogy will certainly include some of this. We shall see if I do any of Hoid's stories before then.
If I remember correctly, [Calamity] was sent to destroy the world?
Kind of, yes. He was sent to make it destroy itself. Apocalypse Guard ties into that, with further explanations, if I can ever get the thing to work.
So it's part of the same...?
Continuity, yes. She is from the same dimension Megan sees into, the main character is.
Has Hoid been on Roshar before The Way of Kings?
Yes.
You're known as an epic fantasy guy. Why the change-up?
I like to do different things. It's what keeps me productive—switching projects. And usually after I've finished something big, I want to do something very different. And so I like to try different genres. Granted, the speculative aspect, the science fiction/fantasy aspect of things, is what really interests me. I basically have never written a book without some at least hint of the science fiction or fantasy element because that's what I love, so that'll show up in everything. But I also do like thrillers. And writing this book—it's been called dystopian now—I viewed it as action-adventure. Dystopian in the same way that some of the darker superhero films are dystopian.
Is it my first YA? I have another YA called The Rithmatist. This I wrote as an older middle grade novel, which is a very fine distinction that really only matters to literacy professionals, and to authors, and things like that. Middle grade ended up getting published as a young YA novel instead—the line there blurs very much. So, yes and no. I mean, Mistborn, which I'm best known for, stars a sixteen-year-old girl. That's shelved in 'adult' because there are adult characters as well, but the story's about her. So is it my first YA, is it not? I'm really honestly not sure. That's sort of a distinction I'll let the librarians and the booksellers argue over.
Is Dalanar just Seeing visions or is he visiting/interacting in the past a-la Quantum Leap?
They are essentially visions. They don't change the past or create alternate timelines or anything like that.
Part of Kaladin's issue is seasonal affective disorder. He doesn't show bipolar signs that I can see.
Shallan also has some kind of PTSD going on.
Could Nightblood theoretically be turned into a Hemalurgic spike?
The problem with that is that Nightblood is already invested, so it depends on your version of ' Hemalurgic spikes'. Piercing someone's body with Invested metal can have weird effects all through the Cosmere, but ripping off a piece of a person's soul using an un-Invested spike to Invest it and create one is different... we're talking about two different things, right. So there's the.... so what is a Hemalurgic spike? For instance if you've got a spike that's Invested and you stick it into a Kandra on Scadrial it will still work as an Invested Hemalurgic spike. Making a new Invested spike by ripping off a person's soul, that's a different process and a little more difficult to accomplish and requires some specialized knowledge.
The Girl That Looked Up. Is that a real story that happened in Roshar? Or just a metaphor?
So, Hoid heard it from someone. He did not make it up.
Because I think Shallan told the story...
Well, he told the story, too- He knew the story, she knew the story... What you're asking is if it's actually historical?
Yes. Did it happen?
I'll give you a RAFO. Because there's actually a little bit to it that I can't talk about. That probably tells you more than I even should already...
There are some weird things about that story, particularly the version that Hoid is involved in.
...Shallan tells half the story, and then later on, Hoid comes, and the story happens again differently. But there are weird things when Hoid is involved in the story that are relevant.
In Mistborn, Ruin could talk to you when you were Hemalurgically spiked, and Preservation could hear you. Do other Shards have different abilities?
It varies, but yes. But that was related to the way they created people.
Do you have a preference for Windstance when writing the Stomrlight Arhcive, it feels like that one comes up the most.
The people that I'm writing tend to like it. It is very Alethi. The Windrunners and things like that are connected with the Alethi people. Its disproportionately represented by all of the Alethi.
You have many blog posts and podcasts about the writing process and getting published. Could you touch on a few of the core things would-be authors should do?
I would say that the first and most important thing for an author is to learn to write consistently. It's just so important. A lot of people say they want to be writers but don't actually write, or they just write here and there. You can't expect to be a master at something when you first try it. Even if you're pretty good at it, you're still not a master. So just write something. Write a book, edit it, start sending it off, and then immediately start writing something else. Give yourself time to learn to love the process and learn to become a professional, because if you really want this, then you need to act like one. The way you do that is you learn to make yourself write. You need to learn how to deal with writer's block, too. It happens to all of us and we all deal with it in different ways, but you have to find what works for you and how to get yourself to produce.
You don't need to be writing as fast as I did. I just absolutely love the process, and one of my big hang-ups early on was that I wouldn't edit my books. That's part of what took me so long. When I'd get done with a book, I'd say, "Yeah, I learned a lot from that; let me see what I can do now," then I was always excited about the next new idea. I always thought, "Oh the next one's going to be really good." But because of that mentality, I never gave the books that I did finish the credit or polish work that they deserved. It wasn't until I learned to start editing and revising that I got published. The first book I sold, Elantris, was actually the one that went through the largest number of revisions. Learn what works for you.
Another big thing I want to mention is that you shouldn't try to write just toward the market—write toward yourself. Write something that you would love to read. It's good to be aware of what's happening in the market and what types of stories are out there and who else is writing books like that so that you can better explain what you're writing. What you don't want to do is say to yourself, "Teenage girl vampire romances are selling really well—I'm going to write one of those," unless you happen to really love writing teenage girl vampire romances. If you write a good book, someone out there will want to read it, and someone will want to buy it and produce it for those people. Not all genres are as viable marketwise as others. But again, you can't just say, "This sells well, so I'm going to write it," unless you happen to really like what happens to sell well.
[Josh and Mi’ch] were kind of explaining that your books were all in different worlds and Hoid can jump from world to world?
Yes, they’re all in the same universe. And there are some characters who have appeared in multiple books. Hoid, for instance, has appeared in all of them so far.
Yeah, is he going to have his own book?
He will eventually have his own book series.
Do you plan to annotate Warbreaker?
I've written annotations for WARBREAKER already. There is supposed to be a special edition WARBREAKER e-book from Tor.com coming that will include all the annotations right there with the text, but I'm not sure when it will appear. The annotations will still go up chapter-by-chapter on my website, but if you get the special edition e-book you can have them all at once. We'll see when that happens
We know Hoid stopped by the Well of Ascension. Would it have been possible for him to take up the power while he was there? Or is it limited to guys created out of preservation and ruin?
Hoid had no interest in holding that power in the state it was in.
Is Officer Brettin Tensoon at the end of the book?
Yes. Brettin was killed towards the end of the book, but not in the storyline related plot. Sazed saw this, and told Tensoon to go get his bones, which is why he wasnt able to imitate him properly.
Chapter Sixty-Three - Part One
Ruin and Preservation Were Human
Ruin was human once. Vin implies it, and I'll just come out and say it. Ruin and Preservation were both people, unconnected to the powers they eventually took upon themselves. I can't say any more on that at this point, however.
I have a question, because I really like Magic: the Gathering. What set are you collecting right now?
I'm always kind of collecting some of everything. Right now I'm building a Theros cube, so kinda working on that. It's just, I have all my old ones so I'm just like, "Eh, I'll build a cube out of these", so I've just been putting that together, and then I've been building this really weird one that's a commander cube. So I'm grabbing specific cards from here and there and putting them together.
[Mythwalker] is however a good title.
Yeah, it is. He almost used it as a series title for Warbreaker, but to me it seems silly to have a series title for 2 books.
If Waxillium will become a Vessel, would the godmetal created by him, be... the waxillium?
He laughed and said it will be right in that way.
Can you give us any hint what Hoid is, and if you'll ever tell us his whole story?
You will get the whole story someday. He is a person who turned down what others accepted eagerly.
Your class that you teach at BYU, can you tell us more about it, like writing, when do you teach it...
I teach it Thursday nights, one night a week, for three hours. It is half-lecture, half-workshop, so, an hour and a half (supposedly) of lecture (it goes long sometimes) and an hour and a half of workshopping. It... you can get most everything I lecture by listening to Writing Excuses, which if you haven't listened to, is my podcast. I cover a lot of it on there, but it's just, you know. I do a lecture on magic systems. I do a lecture on sympathetic characters. I do a lecture on plotting and my goal is just to give you a bunch of tools that a bunch of different writers use, and to just say, "here is how they do it, you can try these different tools and see what works for you" because not every tool is going to work for every writer. In fact, a lot of writers have opposite processes from one another for accomplishing the same goals.
Question about Elantris real quick. In your [Arcanum] Unbound[ed], they show up. Is this post or pre Elantris. Because they're so well organized in that one.
So, that is post Elantris. But, the Ire weathered the [Reod].
Oh they come back. And they remember everything.
They were not on Sel when the [Reod] happened.
I think short chapters do some good, and accomplish a lot. Martin is a master, and he uses them well. (At least, in some places.) Pratchett does an equally good job at it in a different type of sub-genre. But used poorly (or, well, unfairly) they do some terrible things to me as a reader.
An example here for me is Dan Brown. I don't want to pick on him, as big targets are often too easy to pick on. He's obviously been very successful, and has some very interesting things about his writing. However, one thing I noticed reading the Da Vinci Code was that he seemed to be using the same tricks over and over and over to simply get me to turn the page. Someone would open a door and... We don't find out what was on the other side. The chapter ends. We go to the next chapter, and we either find out that nothing really that important was on the other side of the door, or we get told "I'll tell you what was on the other side of that door eventually...if you keep reading."
This actually works, quite well, for a little while. (For me in the Da Vinci Code it worked for about half the book.) And then, it just gets wearying to me. The gimmicks start to show through, and I get tired of never finding anything out. There doesn't feel like development, just one big long stall. Yes, it's possible for a book to be "too exciting." Because if excitement is all there is, we lose character, setting, and a whole lot of depth. We go from trouble, to trouble, to trouble. High tension moment to high tension moment.
Now, this is an extreme example, but I think that it's something for writers to think about. You suggest that self-indulgence is a danger. Yes, perhaps it is. At the same time, I'm not writing thrillers. I'm writing epic fantasy. I'm writing 300,000 word plus books. There should be ups, there should be downs, there should be moments of frantic pace, and there should be scenes of (yes) dinner. Sometimes, the most telling scenes in a story can be a simple dinner sequence. The scene with Faramir riding to charge while his father eats from the LoTR movies comes to mind.
But this isn't exactly what I was trying to get to. I write long chapters not to (hopefully) indulge. I do it to make each chapter (or sequence of them) to have its own rising action, its own climactic moments, its own falling action. I want to open the door and, instead of cutting away, show something on the other side that really does upset the scene. Then continue through the scene to show the ramifications. I want to have each chapter be a story unto itself, rather than a movie trailer for the next chapter. (Which, in turn, is a movie trailer for the next one...and so on.)
Again, I do think there are great ways to use the short chapters. But I worry that the conventional wisdom of "Don't ever let them put the book down!" is bad advice for some authors. Les Miserables has a whole lot of parts that are not very exciting. There are plenty of parts where, once I'm done with the scene, I can put the book down and walk away. It pulls me back to read not because it uses a cliffhanger at the end of every chapter, but because the deep, rich characters draw me back to read further about them.
I do agree that the larger casts are a problem that doesn't seem to have a good solution. Either you ignore half your characters for a book—as GRRM did—or you give them only brief appearances—as Robert Jordan often did. I don't think I'm in a position to criticize either author as, unlike Dan Brown, I think they both do/did fantastic jobs with their works. But I am consciously keeping the cast of the Stormlight Archive down.
How do you write and not subconsciously incorporate other elements from other authors? Do you have a plan to avoid that?
That's an excellent question. We did a whole podcast on that in Writing Excuses. And you may want to go listen to that one, because we talk about it in length.
It is something to be aware of. Oftentimes, when I'm working on something, I'll try to read something very different. Like, it's why I love Terry Prachett novels, they are so different from what I do that I can read them and love them and enjoy them, but not worry about unconscious influence. In other cases, I would read something, and be like... I can kind of tell what is influencing me in what way, and I'll try to be aware of it and conscious of it. The trick is, I don't feel like I should stop reading, because that would be like a doctor not keeping up on what the current medical practices are. If you do that, I think you're gonna have a bad time as a doctor. So I feel like as a writer, I need to be aware of what the new writers are doing, what the established writers are doing, where the genre is moving. I can't talk with expertise about a lot of genres. I don't know science fiction; I love reading it, but I don't know it so well that I can do that. Same thing with paranormal. But with fantasy, for epic fantasy, I want to be on top of the game, and know exactly what other authors are doing, so I can be aware of it.
So, I have to just try and manage it. It is a concern, though, a very big concern.
Could you rewrite Elantris to make Allomancers?
Could you rewrite Elantris to make Allomancers. If you really knew what you were doing, could you create a program?
Right.
It would be way easier with Forging and even that would be really hard. I could see you imitating the powers the right way, that you could end up with something that was functionally the same. It just wouldn't be an Allomancer.
Are you planning on doing more graphic novels, outside of the White Sand series?
Well, there's a couple of things here. Like, we don't want to do another one 'til White Sand is done. They come to us and said, "We wanna do more!" because White Sand sold so well. We're like "No, you finish what you have, then we'll look at doing it." So, we're exploring other options, but we won't start any until what we've started is finished. I really wanna do the story I had for Mistborn, the video game, as a graphic novel with Ben McSweeney.
A note for those who read Ookla's post above, and might be curious. The characters of Vivenna and Siri are ones that have been bouncing around in my head for quite a while. I made one attempt at a book using them, back about five years ago or so.
Unfortunately for the two of them, the rest of the elements of that book (particularly the person I chose as a hero, the magic system, and...well, a lot of things) just kind of fell apart. It's my only true failure of a book, made more tragic by the fact that Siri's story was working so well.
So, I decided that I'd give it another shot, reworking the two characters into a plot where they could be more of the focus, and where the setting and story were better thought out. (I've learned a few things in the intervening years.)
I never did finish the original book, which was titled MYTHWALKER. So, the people who knew me at the time were left hanging as to what happened to the characters.
I intend to finish it this time! Ookla, you've got the right of it still. Susebron will be virtually the same character I imagined in MYTHWALKER> I don't want to give spoilers to the others, but if you watch closely, you'll see how I'm going to work things out.
Fire over the inheritance!
You’ll notice I was sure to foreshadow that the Firebringer’s Lens had a definite front and back. (In the scene where it was on the floor, shooting into the air.) That way, it could be made to shoot the wrong direction.
I always hate it when heroes win by accident. It seems a common theme in children’s books, for some reason. I love the Harry Potter books, but it seems that Harry succeeds a little too often by luck or accident, not because he’s clever or determined or anything else.
I really hope /u/mistborn explores the issues a safehand causes like he did women using the One Power in his ending to WoT (ie, it is all arbitrary).
It's not exactly arbitrary, but it is completely sexist. See it as you would something like foot-binding on Earth--something that grew, over time, partially to mark/distinguish/hamper women with enough means to be "refined" enough to do something this wildly impractical. There's a reason darkeyed women (and a lot of lower lighteyed women) wear gloves.
The more benevolent Shards, like Cultivation or Endowment; how do they feel about Sazed holding two Shards?
You'll have to ask them. That's a RAFO. I want to stay away from too many questions, about the interaction between Shards beacuse that years off, and I want to be careful not to be saying too much before...
Szeth has an afterglow because his soul is lagging behind his body slightly.
Yes.
So if he was moving fast enough, could a Shardblade pass through his physical body and not cut the soul?
Ummm, that sounds like the sort of thing-- I'm going to say, the soul is more stretchy, so I don't think that's possible. But you could do some weird things where you're cutting the soul and not the body.
Do the Parshendi need a highstorm to change forms?
They do, good guess! Excellent question.
Do they eat?
Do they eat? Yes.
So, they eat like grains and stuff like that?
You will find out, but they do eat.
Why did you have to kill Vin and Elend?
They demanded that they be allowed to take the chance they did. And I just let them take the chance. I didn't kill them, I just let them take the chance that they demanded that I let them take. That's kind of a cop-out answer, I'm sorry, but that's what it feels like to me. And if I always make it so that there are no consequences, then the books have no heart.
Nale’s nuts sounds like something a world hopper would say...... I mean there aren’t any nut producing plants on Roshar so how would. (Someone’s) nuts be a saying?
In these cases, you should assume one of two things.
It's a linguistic holdover. I like using a lot of these in Stormlight. Human languages still have a lot of terms in them that reference the world they used to live on. (See Hoid's discussion of the word "hound" in one of the books.)
We're doing our best to translate into English a phrase that doesn't really work in our language.
Basically, whichever is easier for your suspension of disbelief. With this, I'd say it's likely they said "Nale's Rockbuds" but it's just awkward in English, so when the book was changed from Alethi to English, the translator (me) picked something that conveyed the same meaning.
Have you ever done NaNoWriMo [National Novel Writing Month], and would you?
I did it several times before I got published [But he never actually did it; see the link at the bottom for more info]. Way of Kings, I wrote during NaNoWriMo, a big portion of it. I actually wrote the NaNoWriMo pep talk this year, they asked me to, and so you’ll get an email from me in your inbox.
Usually, I can’t do NaNoWriMo officially because I’m in the middle of a book, and I can’t stop a book and write another one, I will eventually be able to do that, but the Wheel of Time, and other things have been so busy lately that my schedule doesn’t allow me to in November stop writing. And I’m usually touring in November, almost always. And that’s really tough for getting 50,000 words. If you haven’t done NaNoWriMo, it’s awesome.
questioner's paraphrase, delete after transcription review: Based on the bit during the open Q&A about Odium splintering Dominion and Devotion and shoving their power into the Cognitive, and that blocking off the Spiritual, which makes Sel's magic so location (or Identity of location) based - if a Shardbearer traveled to Sel, could they still summon their Shardblade?
Transcription:
So from what you said about Odium sticking Devotion and Dominion in the Cognitive, if they *inaudible* Shardblade, well Shardbearer, and travelled to Sel would they *inaudible*?
Uh... what-- I'm going to RAFO that. I've never asked me that before. I guess I haven't really explained that whole thing before to people.
Chapter Forty-Two
Hum. I forgot how short many of these chapters got. Usually, I don't let my chapters get this short in a book. I like longer chapters, and tend to be pretty stable in my chapter lengths. Elantris, however, is an aberration. It has a good twenty chapters more than my average book, despite being shorter than many of them.
Giving you power!
That voice at the end of the chapter is Kelsier, who can finally speak to Vin, now that her earring is gone. She's close enough to the mists and Preservation's power that he can touch Vin's mind or a brief moment and send a few words toward her.
The last words echo his famous line about the mists, the first thing he taught Vin about them on a mist-wetted street in Luthadel her first night of training.
Did Odium intentionally cause direct harm to the inhabitants of Sel or was his sole focus taking down Devotion and Dominion? (Context: I'd like to know if Odium cares/has any interest in mortals or if he only has designs/plans for Shards)
It was all side effect. He is focused on Shards... But he does have secondary interest in mortals.
Introduction
Welcome, everyone, to our final State of the Sanderson for the decade! If you’re not familiar with these posts, each December I take a look back at my year and talk about the projects I’ve been working on. Then I turn an eye to the future to see where I’m planning for things to go in the coming years. If you’d like to see last year’s State of the Sanderson, you can find it at this handy link.
This year was dedicated primarily to writing Stormlight Book Four; I’ll have a specific update on that for you in a little bit. I also spent a lot of time traveling, particularly to Europe—to the point that I’ve been feeling the weight of my travel. (Which indicates it’s time to scale back for a while.)
Stormlight years always have a little less variety than “off” years where I work on a more eclectic mix of stories. So while I got a ton done, there won’t be much in the way of updates on other projects. One thing I wanted to add this year, however, is a little survey—mostly about our leatherbound books. So if you’d do me a favor and hop over to answer a couple of questions, [that would help us a ton.] I’ve put the survey link both here and at the bottom of the following section, which will dig into leatherbounds in depth. This section is a tad long, which will come as no surprise since I wrote it. So if you’re not interested, you might want to meet me back at Part Two.
In plotting an epic like The Way of Kings, to what extent do you outline the whole story? How does that compare with the outline and notes provided by Robert Jordan for the remaining volumes of WoT?
Robert Jordan and I plot differently. In the notes he tends to talk about scenes that he's working on at the time, whereas I tend to plot out everything, kind of in reverse order. His outlines do end up looking like my outlines in some ways, in that he talks about important moments and I tend to plot backwards, starting from those important moments and moving backward from them. He seemed to be much more of a "I work on this scene because I'm passionate about it" writer, where I am a "I build a framework for the entire book and then start writing" writer.
Ruin in the Cache
So, you'll notice that Ruin appears to Vin here in the form of Reen. One might wonder why he even needed her to investigate if he could visit the cache himself.
This reveals the main problem Ruin was dealing with in this instance. The Lord Ruler was very clever in how he placed and organized these caches. He planned them in locations where there was so much metal in the ground that it would prevent Ruin from discovering them. And, more importantly, he trained his obligators—Yomen included—not to speak of what was down below or reveal the locations of the caches.
Ruin didn't know there was a cache here, not until Vin found the previous plate. Even once he knew where the cache was, he couldn't see much when he visited it. He couldn't know if there was atium there, for the entire area—particularly because of the metal cans Vin mentions—glowed so brightly that Ruin had no idea what he was seeing.
He needed a pawn to visit, one through whose eyes he could see. One who could discover where the atium was. Ruin drew the same conclusion Vin did here—that if there had been atium, Yomen would have moved it. But where? Ruin still needed her to find it for him. Either that or bring in an Inquisitor, something he eventually decided to do.
Is Hoid the girl who looked up? Is this the story of the shattering of Adonalsium, and did the group shatter adonalsium to figure out analytically the nature of Divinity. Was this an attempt to separate the different components of god to understand the unitary whole better?
He said that this was not quite right but thinking along the right track
Were did Lift come from?
One of the things I did when I was developing the Knights Radiant, was that I knew I wanted the Knights Radiant to come from variety of walks of life and a variety of ages. This was especially important because I knew my some of my central characters were going to be around the same age and come from various similar cultures. So I knew when I was developing them I was going to need someone like Lift. I wanted a tween who became a Knight Radiant. That was the thing, who's going to be my tween, whose going to be the older, the person in their 60's or 70's who becomes a Knight Radiant.
[Is OreSeur...] she wanted to know if there's a worldjumper who's the same species?
Yes, there are and several of them have, but they tend to be homebodies, but there are some who have gone off.
The sprite-like spren seems to be an odd addition to The Way of Kings. Understanding just when and how a spren appears and how and when people are able to notice them is the most confusing part of the novel. Could you elucidate the reasoning behind them, and how one might be able to predict their appearance?
The spren felt very natural to me. I didn't anticipate them being as controversial as they've become. I think part of the reason for this is that the people of the world take them as natural. They're just there, and everybody in this world is going to treat them as familiar. Asking them why a spren appears the way it does is a little like asking a layman in our world why sometimes the wind blows and sometimes it doesn't. If you walk outside, sometimes the wind will be blowing and sometimes it won't, and you just take that for granted. You don't ask why, you just say that it's windy or it's not windy. These characters in this world will say, "Oh, there are some fearspren; someone's scared," but sometimes they don't appear and sometimes they do. Some of the rationale around that will become more and more clear as the series progresses, but the reason it's not explained in this book is because the characters have just all grown up with these things all their lives. They don't necessarily ask those questions any more than most of us ask why a particular leaf falls off a branch when another one stays attached. It's just the natural process of the world. There are lots of reasons why they're there, but I don't think I can get into those without spoiling the series.
You mentioned in a previous stream that you envision the three Era 1 books as a movie, TV series, and another movie, respectively. Do you have an idea for what subsequent eras would look like in another medium?
Wax and Wayne is a television show. Straight-up, that's how I envisioned it. I've only started to think of Era 1 as movie/television show/movie as I've worked on the screenplay and seen that the second book, pacing-wise, works so much better as a television show. So that's how I started to envision that. I've always envisioned Wax and Wayne as a television show.
Era 3. I have to write. I have to see how Era 3 turns out. As I've told you before, I envisioned them as Mistborn spy thrillers. Mistborn Tom Clancy, Mistborn Mission Impossible kind of mashup sort of things. So, they're probably going to be paced and plotted more cinematically, which would mean features.
I know a lot of people talk about animation, and that's totally on our radar for some of these things. There's cool things happening in animation right now. I actually was talking with my people and saying, "Do you think we can get anyone on board for the idea of a Reckoners animated show?" Because I think that would be awesome. So, it's totally on our radar. It's things we're thinking about doing. And I imagine it will happen for some of our properties going forward.
A lot of people ask me about video games. We tried for years on Mistborn with a really great group of people who I still really like, Little Orbit and Matt Scott. Just top-notch folks. They treated me great, they treated the property great. But it just didn't come together. Video games are such a hard world.
I really want to know, Brandon how do you get these ideas about so diverse and innovative magic systems?
It just happens. I don't know. It's a blend of who I am--my science background, what I like in fiction, mixed with the way my mind works, what stories I seek to tell. I can't say specifically where I get the ideas, because they're all different. It's just part of my makeup.
I also just finished Shadows of Self and was thinking about what would happen if a kandra tried to eat a shade. If they don't have bones, it probably can't happen I guess. But maybe a shade that was a kandra could be pretty frightening.
Yes, a kandra couldn't eat a Shade. And how scary the shade kandra would be depends entirely on the kandra, I'd figure...
