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Which map holds the Easter Egg?
The main map of Roshar.
From which book?
Either book, it's the main one that will go in each copy. It's VERY hard and it won't change a whole lot.
Does it have anything to do with the compass?
Not the compass.
Brandon: I'd like to ask your opinion of the current state of the fantasy genre....
Fantasy has always been a "series-powered" genre but it seems that lately several authors (or publishers) just don't know when to suitably end a long-running saga... Drawing out a series for the sake of more installments, it seems.
And there seems to be fewer and fewer standalone novels like Warbreaker and Elantris. (I love standalone novels, by the way, and am hoping that that "format" makes a return!)
Any comments on this from your perspective? Thanks!
It's a good question, Paul. One I've been considering, actually, for a long time. Certainly, there's an economic piece to it.
When a stand-alone comes out, it tends to gather praise from both readers and reviewers. Then proceeds to sell far fewer copies than a series book does. The Wheel of Time didn't hit #1 on the New York Times list until book eight or nine, I believe, and I don't think Sword of Truth hit #1 until book ten. Series tend to sell better. Even as readers complain about them. And so I think publishers do push for them.
But why do they sell better? Well, I think this is partially the learning curve factor. We like fantasy for the same reason that fantasy is hard to read: the learning curve. Starting a fantasy book can be tough because of how many new names, concepts, societies, religions, and laws of physics you have to learn and get used to. Epics, with their dozens upon dozens of characters, are even tougher in this regard. And so, after investing so much energy into becoming an expert in the world, we want to get a good payoff and be able to USE that expertise.
Beyond that, I think that fantasy is character driven—and when we fall in love with characters, we want to read more about them. Fantasy, particularly the epic series, allows us to follow characters across sweeping, life changing events. Fantasy (like historicals) give us lots of pages and time to know these characters. So we want more from them.
But the very thing that we love about fantasy in this regard also tends to present problems. We want lots of characters, but eventually this large cast gets overwhelms us and makes the books seem to drag. Personally, I think these complaints will be much lessened when some of these great series are done, and you don't have to wait years and years between volumes.
Anyway, Terry Brooks talks a lot about this in his biographical work Sometimes the Magic Works. (Bet you can find it here on BN.com, and I highly suggest the book as a quick, interesting, engaging read.) He mentions how, when he left Shannara to write other things, the fans begged and begged him for more. Until finally he broke down and gave them more books in the world.
A lot of authors I know tend to live in this state of perpetual wonder and amazement that, finally, people are actually enjoying and reading their works. (After all the years of failure trying to break in, I know that I feel this way a lot.) When someone comes to you and talks about how much they love one of your works, asking you to write more...well, we're storytellers. If people want a story, we want to give it to them. It's hard to say no. (Though so far I have.)
I intend to keep writing stand-alone novels. But I do so knowing that 1) they will not sell as well as series books and 2) readers will ask me for more, and so each stand alone will only increase the number of requests for future books that I can't write. I'm in the fortunate place that I can write, and publish, what I want—whether it be series or stand alone—and no longer have to worry about the money.
But, in my heart, I've got a strong desire to write a big epic. I grew up reading them. I want to see if I can do one, my way, and add something new to the genre. So maybe that's the reason. Looking through Robert Jordan's notes, reading interviews, I don't think he ever artificially inflated the length of his series because of publisher desire or money reasons. I think he loved the long-form epic, and wanted to tell the story his way, no matter how long it took. And as he added more characters, it took longer and longer.
In a way, being free from the worry of finances gives creators a chance to really explore their vision the way they want to. And...well, we’re fantasy writers, so we can get a little long winded.
Kind of like this response, eh? ;) Thanks for the question.
[Fancast of Mistborn Era 1]
For what it's worth, I love seeing things like this, but as I don't "cast" most characters with actors in my head, it's not like I can step in and say "let it be so." I do like the idea of playing with a black Ham, though personally, the big change I'd make to canon for a film would be to genderswap a character or two to get more women in the crew.
Did the lord rulers armies have female soldiers? Wondering since Ham hung out with them quite a bit and sparred, speaking of genderbending characters.
I think the easiest character to genderbend would be Clubs. And more outside the main cast, people in the Skaa rebellion.
I would imagine that the LR's armies would take Allomancers of either gender quickly and happily.
It seems that the Cognitive Realm on each world manifests as the primary way Investiture is viewed in the Physical Realm on that planet: beads of Stormlight on Roshar, and mists on Scadrial. Would a planet like Sel, that seems to have several different ways of interacting with Investiture (assuming you could look into the Cognitive Realm and survive) look any different based on the person looking in or the location that they entered the Cognitive Realm?
Good question. Location would be a factor, the person looking in would not. Of course, it’s all kind of moot for Sel, but you could see changes in the Cognitive Realm based on location, based on different magic systems or different interpretations of the same magic system.
Chapter Three
There is some division among readers regarding their favorite viewpoint character. One group chooses Raoden, but I think the majority go with Hrathen. All things considered, I think he's probably the best villain I've ever written. His personality comes off quite well in this first chapter, and I think he might have the strongest introduction–at least personality-wise–of the three.
...
Anyway, back to Hrathen. My hope in creating him was to present an antagonist for the story who would be believable, understandable, and sympathetic. He's a good man, after his own fashion–and he's certainly dedicated. He doesn't want to destroy the world; he wants to save it. It's not his fault he's serving an evil imperial force.
Regardless, Hrathen certainly has the most interesting character progression in the story. Raoden and Sarene, despite many interesting attributes, are two of the most static characters I've designed. This book isn't about their growth as people, but rather their ability to overcome their desperate odds. Hrathen, on the other hand, has a real opportunity to grow, learn, and change. Perhaps this is what makes him people's favorite. It certainly made him the critic's favorite.
I just finished the timeline for Oathbringer, and thought you might like to hear about the process. (Spoiler warning: There may be tidbits of information in this article about the plot of Oathbringer, but I have specifically made up many of the examples I use, so you can't count on any of it as fact.)
I know that some of you think, "Brandon posted that he had finished writing Oathbringer months ago. Why do we have to wait until November before it's on the shelf at the bookstore?" This is a natural question. I asked it myself years ago when I heard similar news about a Harry Potter book. The timeline is one small part of the reason, but it will give you a small glimpse of what is going on at a frantic pace here at Dragonsteel trying to get the book ready to go to press.
You may know that I'm Brandon's continuity editor. I keep records of every character, place, spren, and piece of clothing to name just a few. The next time a person appears, I make sure they have the right eye color and eat the right kind of food. There's so much more to it than that, but it gives you an idea of the level of detail I try to be on top of.
Another thing I track is the timeline of each book. I have a massive spreadsheet called the Master Cosmere Timeline (I can hear some of you salivating right now, and no, I won't let you peek at certain corners of it).
In some of Brandon's books, there are a few main characters who spend most of their time together in the same place. For those books, the timeline is simple. Take The Bands of Mourning for instance. It's about four days long. Nobody goes off on a side quest. The timeline only takes up 32 lines in the spreadsheet because there are that many chapters. On the other hand, the current spreadsheet for the Stormlight books has over 1100 lines.
Here's a sample of the timeline spreadsheet. The white columns are the dates, which I have an entirely separate post about. In column F we have an event that happens in the book. Column E tells how long it has been since the last event. Then I have the quote from the book that I used to justify the timing, the chapter the quote appears in, and whether the event happened on the day of the chapter, or sometime in the past or future.
The timeline for Oathbringer starts on day 4 of the new year, and ends on day 100. (Which, for those of you who keep track of such things, makes the date 1174.2.10.5). My day count could change by a day or two here and there, but I'm pretty happy with how I got the different groups of people to all end up in the same place at the same time.
Why bother? Well, sometimes Brandon writes a flashback and someone is looking at a cute baby. It's important to tell Brandon that this particular kid wasn't born for another four years. A character might think to themselves, "It's been a month and a half since I was there," and though it has been 45 days, a month on Roshar is 50 days long, so it hasn't even been a single month. Brandon often glosses over those conversions in early drafts.
The most important purpose, though, comes when two groups of characters are apart for some length of time. Let's take Kaladin and Dalinar in The Way of Kings. Kaladin was running bridges for battles where Dalinar and Sadeas cooperated. Were there the same number of days in Kaladin's viewpoint between those battles as there were in Dalinar's viewpoint? The answer is no. I was assigned this job after that book was finished, and as much as we squashed and fudged, there is still a day or two unaccounted for. An interesting tidbit from The Way of Kings‘ timeline is that Kaladin's timeline has 50 days in it before Dalinar's starts. Chapter 40, when Kaladin recovers from being strung up in the storm, is the same day as the chasmfiend hunt in Chapter 12.
Going back to Oathbringer, sometimes I'm amazed at the power I have. As I go through the manuscript, I can take a sentence like, "He spent four days recovering," and simply replace the word four with two. Brandon gives me a general idea of how long he wants things to take, and I tell him what it needs to be to fit. It's a big responsibility, and sometimes I worry that I'll mess the whole thing up.
Oathbringer is the first book in the Stormlight series where I worked with a list of the storms from the start. Peter tried on Words of Radiance, but Brandon wrote what the story needed and expected us to fit the storms in around that (A perfectly reasonable process, even if it makes my job trickier). In Oathbringer though, the Everstorm and highstorm are each on a much stricter schedule. We need such exact timing in some scenes that Peter (with help from beta reader Ross Newberry) made me a calculator to track the hour and minute the storms would hit any given city.
Yet another thing we needed to calculate is travel time. How fast can a Windrunner fly? How many days does it take to march an army from here to there? Kaladin might be able to do a forced march for a week, but what about Shallan or Navani? How long could they manage 30 miles a day?
Hopefully now you can see why we've needed months of work to get this far, and will need months more to get it finished in time. At some point, we're just going to have to call it good and turn the book over to the printer, but even though you think you want to get your hands on it now, it will be a much better read after we have the kinks worked out.
The Sleepless presumably do not want her to swear a Radiant oath because she would be able to use the Dawnshard in conjunction with Surgebinding, and we know that that combination already destroyed one planet in the system so it's pretty understandable.
But there were a bunch of Soulcasters lying around and they didn't seem bothered. So is this one of the differences between Radiant Soulcasting and Soulcasting via the fabrial? That the Dawnshard cannot be used alongside the fabrial?
So, the Sleepless ARE capable of Radiant bonds. (I believe the back jacket of the first book implies as much, if I remember correctly.) However, things they at first thought were great are making them increasingly worried, for reasons that will come up (not related to them specifically) in this book and the next.
Soulcasting via a fabrial is way, way less dangerous than Radiant Soulcasting--which is in turn far less dangerous than unbound Soulcasting (meaning without oaths.)
We've seen that the interpretation of the oaths is largely up to each individual spren (to the point that we've seen an entire Order of Radiants change their allegiance). Would it be possible for there to be a "sociopathic spren" that has interpreted the oaths so radically differently from the rest of their kind that it appears, to an outsider, that they are unbound in the same way the wielder of an honorblade is unbound? Or is there something essential about the nature of spren that prevents this?
I think that spren could go further than we've seen so far, and indeed, many of the older Skybreakers might be horrified by how far their order has gone. However, there are SOME fundamentals that even a spren with a very different interpretation wouldn't be able to abandon.
The possibility of turning the plot of Mistborn: Birthright into a graphic novel.
Mistborn: Birthright graphic novel. We have discussed this, we have talked about it. This was, if you're unfamiliar with it, a video game that was in development for many years with a video game person, Matt Scott, that I really like. And it just never quite panned out. I had provided the initial story and outline. There is definitely something there, the thing is--to remember--I designed it for a video game and sometimes those things interpret or change well, adapt well, sometimes they don't. I'd have to think about it. I haven't given up hope on some day doing it, but we shall see.
Why did you call it Shadows for Self?
There are two answers to this. One is the kandra are kind of doing different versions of themselves. The other is that Wax is trying to decide which person he is, through this. The term "shadows of self" is actually a phrase that one of the kandra use in the first trilogy talking about this idea of changing who they are and things like that, so the phrase had import to me in-world.
Vin Gets Her Earring Back
Getting Vin's earring back to her proved a logistical problem here, perhaps one of the biggest puzzles in the entire book for me. If I pulled the earring, then Ruin couldn't talk to her, and I couldn't include the scenes of her and Ruin in jail. I felt they were very important—both to make good use of Vin's time while imprisoned, and to get across useful information about the nature of Ruin—his goals, his motivations.
And so, I needed to have Yomen give the earring back. But why? Why would he give a piece of metal to an Allomancer? Vin's reasoning in this chapter is the best I could come up with. Yes, Yomen has atium, ready to burn it. He is, indeed, trying to spring any traps Vin has ready. In fact, once he had her taken away, he followed a distance behind and waited by her cell for the rest of the day, expecting her to try something. When she didn't, he was rather confused.
The earring also presented a problem in that in the original drafts of book one, silver was an Allomantic metal. I later changed silver to tin and played with what the metals did. However, I didn't have the specifics of Hemalurgy down. And so, when I got this book, I worried that her earring would be the wrong metal. Hence the silver plating explanation, as I worried that I'd forgotten or missed some instances in book one where I mentioned the earring being silver. (I tried to cut all references to its actual metal, so that I would be open to build Hemalurgy as I saw fit.)
Notice that Ruin's voice doesn't come to her until after she puts the earring back in. As she points out later, his telling her to kill isn't as specific as she's interpreting it. He's just sending her a general feeling that she should kill and destroy; his attention is elsewhere at the moment, watching what Spook is doing.
Who is Renarin's crush?
Should I answer this? How about this, it is not supposed to be... I'm not trying to be tricky. If you think it is someone hinted at by the book, that is who it is. I'm not pulling a fast one on you. Basically, I am letting the characters come to their own realizations as they move through the story. But I have liked how it has grown, and I am not planning to change it, and I am not playing to be tricky with you about this.
And I think you were subtle enough and obvious enough, because many people in the chat have guessed. People are saying it.
Well, they're saying lots of things, I assume.
They're not.
So Adam just undid my RAFO. I can't see the chat, but as Robert Jordan says, this should be intuitively obvious to the casual observer. I expected this one to be obvious; I'm not trying to trick you. But the characters have not reached the same conclusions that their emotions have, yet. Does that make sense?
This should come out in book five, so you shouldn't have to wait till the back five for anything to happen there.
What are you anticipating the length of the books for [Mistborn] Era Three and Era Four?
Era Three will go back to Era One lengths. The goal is, once I finish Stormlight Five, to write all three books in Era Three together, like I did for Era One. And this means that the releases in between might be kind of other sorts of things. Basically, I'm gonna have to take three years and write those books before we release any of them. And that'll be great for continuity, and for a lot of cool reasons, but it means that... 2023 is hopefully Stormlight Five. (I say "hopefully" because, again, Stormlight Five is the end of a series, so it is possible of all of them that one takes longer. We'll see.) And then, after Stormlight Five, then the releases will probably be some things for a couple of years until I get Mistborn ready.
One of these things is likely to be a non-Cosmere collection; a collection of all my short fiction that is not Cosmere and not Legion. So all of your Defending Elysiums and things like that, collected in one collection, like we did with Arcanum Unbounded. There is a decent chance that I will be getting The Apocalypse Guard into shape, at long last, and releasing that with Dan Wells working with me on those. There is a decent chance that we'll have a prose version of Dark One, because Dan and I are working on that, but we'll see. Who knows. And then there's the perpetual project that I've really started to think that is probably going to happen, where White Sand of all my unpublished novels is the strongest, and I think that if I put it through my current revision process, I'd get a really strong revision, send it to beta readers, and put it through another really strong revision, it would be of publishable quality. I would generally update it to match the events of the graphic novels, and then we would release a prose version, probably, that is the same as the graphic novels. But we'll see. We'll see if that actually happens. For now, we do have the collection of the three graphic novels coming out soon-ish, I hope. And it's looking really nice; Isaac's been putting a ton of work into that.
So, those are all things that you could see in the interim, between. What you're not gonna get is a Mistborn novel or a Stormlight novel for a number of years, as I work on the Mistborn books. In a perfect world, I'm writing Elantris Two and Three then, as well. So I get done with those five books, each of which I plan at 200,000 words (which is the length of Elantris and the original Mistborn trilogy). Which, when I work on a Stormlight book, I do 400,000 to 500,000 words in eighteen months. And so, we would see how these other ones would turn out. One a year, plus change, basically. And then I would jump to Stormlight six.
So, that's a long-term plan. I still have to finish Wax and Wayne Four, and Stormlight Five, and Skyward Four. Which, I am finishing three series in a row. The one I am most worried about, obviously, is Stormlight. I don't know if that'd be obvious, but that's the highest stakes. And beyond that, it's the one that has some of the biggest implications for the cosmere at large, and things like that. Like, I am not terribly worried about Wax and Wayne Four, partially because I outlined the three that came after Alloy of Law really solidly, and the outline stuff I've been sending out for this last one, everyone is liking in the company, and it seems like it's a very... Like, the original trilogy idea I had for those three seems to be working. And Shadows of Self and Bands of Mourning both worked really well, and this one is in that same vein, kind of bringing things together. And so, I'm not really worried about it. I think it's gonna be really strong, and people are really gonna like it. Skyward Four, again, the stakes are just lower. Skyward Three was a tough revision; there was a lot of work to do on that one. But, if I do write Skyward Four this year, then I have plenty of time to work on Skyward Four's revision, because it's probably not scheduled until, like, spring of 2023. Spring or summer, even, summer 2023, before Stormlight Five. And so basically, the revision time on both Wax and Wayne and that are gonna be much bigger than my revision time on Skyward Three.
The time crunch is over for a little bit. It's just: can I squeeze these in before the looming battleship that is Stormlight Five comes sailing into port, and it's all hands on deck.
Chapter Fourteen
Spook Enters the Stage
And so, here we have our first Spook chapter. When I wrote these books, I'd been planning Spook's sections for quite some time and was very excited to write them. As I said earlier, I wrote them all together, like a mini-novel of their own, then interwove them with the Vin/Elend sections and the TenSoon sections.
Spook has always been a personal favorite of mine. His silly nonsense of a language from the first book was a lot of fun, and even then I began planning what I could do with him were I to make him a viewpoint character. The first thing I had to do was, unfortunately, get rid of the dialect—it annoyed too many people, and it just wasn't comprehensible enough.
The second thing I had to do was give him conflict. Clubs's death, and Spook's absence during the Siege of Luthadel, gave me a large chunk of that. But from there I needed more—and I wanted to do something different with Allomancy for him. Hence the idea of the tin savant, a person who has burned and flared tin so much that it has changed his body.
We'll get a lot more on this as the book progresses. However, my feeling has been that these novels have focused too much on the powerful and the very capable. I love Vin's and Elend's scenes, but we needed something from someone a little bit lower on the power scale. I wanted to do these Spook sections to show someone more average, someone most readers usually ignored, doing amazing things.
Originally, I wrote Spook a little bit more unhinged. He was cocky in his new powers to the point of being a little too off-putting. During the final revision—the one where I added Sazed's studies of the religions—I backed off on Spook's intensity in these first few chapters from his viewpoint, trying to make him a little more sympathetic and a little more trustworthy.
Yes, he's done serious damage to his body by ignoring the advice not to flare his metal too much. (See book one where Kelsier gives this same advice to Vin.) However, he now recognizes what he's done and explains why he's doing it.
Other than that, this is another setup chapter reintroducing us to Spook, giving us his motivations and place in the book, and showing off his magic a little. The next chapter from his viewpoint has a lot more going on.
Setting
Where is this book happening? If you’ve wondered this, you’re not alone–and you’re also not going to get an answer.
One of the reasons I write epic fantasy is because I have complete control over my settings. I know where things are and what they look like, and I’m the ultimate expert on the details. But when you write in this world, you can get one little thing wrong, and then end up having all kinds of complaints from readers who get distracted because you describe a real library the wrong way.
Plus, I like it when you can put yourself into the story. You can imagine this happening pretty much anywhere–I’ve even allowed foreign publishers to change Alcatraz’s national identity, if they want. Doesn’t matter to me. This story happens in “our world,” and that’s all the detail I wanted to give.
Vin waits for Elend to reveal his plan before the Assembly
I had to do a couple of drafts of Elend's "It doesn't change things" section with Vin. I didn't want to reveal his plan–I wanted Vin to work through it–but I also didn't want it to seem TOO forced that he didn't tell her.
I settled on this, which I think has a nice balance. However, you're in dangerous territory as a writer any time you have characters conveniently forget to tell each other things–or when you keep viewpoints characters plans and schemes back from the reader.
I have a history of fudging these things a tad in this series. I don't give myself that much leeway in all of my books–but I figured with the Kelsier "Real Plan" surprise I had in the last book, I have established that the characters don't always tell the reader every single thing they're plotting.
I started writing my first novel when I was fifteen years old. I didn’t have a computer; I had an old, electric typewriter. It would remember your file on a disc, but it was really just a printer with an attached bare-bones word processor. (It had a tiny LCD screen at the top that could display three lines at a time. You could scroll through and edit bit by bit, then you hit print and it would type out the document.)
The book was terrible. It was essentially a hybrid of Tad Williams and Dragonlance, though at the time I felt it was totally new and original. It did have a wizard who threw fireballs with smiley faces on the front, though, so that’s kind of cool. At its core were two stories. One vital one was the tale of a wise king who was murdered by assassins, forcing his younger brother to take up the mantle and lead the kingdom while trying to find/protect the king’s son and rightful heir. The other was about a young man named Rick, originally blamed for the murder.
I still have some of these pages. (Not the entire book, unfortunately.) I used to hide them behind a picture on the wall of my room so that nobody would find them. I was so anxious about letting people read my writing, and was—for some reason—paranoid my family would find the pages and read them, then make fun of them.
Over the years, many ideas proliferated and matured in my mind. I began writing books in earnest (I never finished that one I started as a teenager.) I grew as a writer, and discovered how to make my works less derivative. Most of my ideas from my teenage self died out, and rightly so. Others evolved. My maturing sensibilities as both a reader and a writer changed how I saw the world, and some stories stood the test of both time and internal criticism, becoming stronger for the conflict.
Rick became Jerick, hero of the book now known as Dragonsteel. (It was my honor’s thesis in college, and will someday be rewritten and published. For now, the only copy available is through interlibrary loan, though it appears to have vanished.) Jared, the man who lost his brother and had to lead in his stead, protecting his nephew, slowly evolved into a man named Dalinar, one of the primary protagonists of The Way of Kings. Some of you may be curious to know that the character many now call Hoid also appeared in that ancient book of mine.
These two epics—Dragonsteel and The Way of Kings—have shaped a lot of my passions and writing goals over the last two decades. For example, in my last year of college I took an introductory illustration class to try my hand at drawing. My final project was a portfolio piece of sketches of plants and animals from Roshar, as even then I was hoping to someday be able to publish The Way of Kings with copious in-world illustrations of Roshar and its life. (At that time, I was planning to have an illustrated appendix, though I eventually decided to spread the pages through the book.) Fortunately, I was able to hire artists to do the work in this book instead of forcing you to look at what I came up with . . .
Well, finally—after two decades of writing—Tor has given me the chance to share The Way of Kings with you. They’ve taken a risk on this book. At every juncture, they agreed to do as I asked, often choosing the more expensive option as it was a better artistic decision. Michael Whelan on the cover. 400K words in length. Almost thirty full page interior illustrations. High-end printing processes in order to make the interior art look crisp and beautiful. A piece of in-world writing on the back cover, rather than a long list of marketing blurbs. Interludes inside the book that added to the length, and printing costs, but which fleshed out the world and the story in ways I’d always dreamed of doing.
This is a massive book. That seems fitting, as it has been two decades in the making for me. Writing this essay, I find myself feeling oddly relieved. Yes, part of me is nervous—more nervous for this book than I have been for any book save The Gathering Storm. But a greater part of me is satisfied.
I finally got it published. Whatever else happens, whatever else comes, I managed to tell this story. The Way of Kings isn’t hidden behind the painting in my room any longer.
Do you have particular Inspirations from classics that you brought in your books? I felt like Dalinar was heavily influenced by Constantine.
Well, I did have a degree in English, and so I read lots of stuff, but my favorite classics are Moby Dick, Les Miserables, and depending on the day one of the Jane Austen books, it changes. And so those are definite influences. You can probably see some Les Mis influence, a lot of it, in the Mistborn books. There were several places where I kind of consciously let myself be influenced there. I wouldn’t say that Dalinar though. The thing is, I started writing Dalinar when I was 15. He was my first character. In fact, I posted at Tor.com when Way of Kings came out a page from my very first novel that I tried to write when I was 14, and it was really really bad, and it has Dalinar in it. He is one of the few characters that survived through all these years from maturing, growing, and things like this. The story of the brother of the king who dies, and the brother must decide: does he take control, or does he let his nephew take control. So a lot of things have influenced Dalinar, but I can’t point to one specific thing.
Mr Sanderson, I think it speaks volumes for your character and dedication to the final product that you began this update with "I'm back for another update on how your book is going."
Funny, my response to that was "Brandon Sanderson is not my bitch." I'm glad he knows how invested we are in his novels but I've seen too many entitled idiots (most often Martin and Rothfuss fans) who really think the authors owe them something, and get irate if they don't get what they want in a timely manner.
I don't agree with your downvotes, Gunner. This is a legitimate position to take. (And for those not aware, that is a quote from Gaiman.) And I don't agree with the harassment some authors get. Everyone has different writing methods and speeds. And despite being known as "quick," I haven't been much better than Rothfuss at getting to book three of my big series.
That said, I do believe that a series is an implicit contract with the reader. When I put "book one" on a cover, particularly as prominently as with the Way of Kings, I do feel it is a promise. That's different from something like Warbreaker, where I say I'm planning a sequel, but didn't publicize the book as a series.
I use "your" in this context because I believe that storytelling is a participatory art--that it doesn't live without an audience to imagine it. Beyond that, I believe in the patronage theory of art. I am able to do what I do, as an artist, because of the support of the greater community.
That said, I am sympathetic to the Gaiman approach you quote, and think it would be good for fans to read that essay and consider it.
Thanks Brandon. I fully agree with and appreciate the feeling of duty to the audience when you say that this is book one. But you don't promise how long it will take to get to book two, and you don't take surveys from readers to find out what should happen. In my mind, it's not our book, it's yours, and we are here ready to enjoy it when it's finished.
Maybe my perspective is different because I'm a writer (of songs, not books) and it has taken me years of far less success than yours to come to terms with the fact that my art is mine to make or not make as I see fit. It's great to have fans who are so deeply invested in what we do but they are not the ones who have to do the creating and be satisfied with the results (which includes not only the work but also that permanent change in one's life and career after each new release).
I follow your career very closely, and I know quite a bit about your history and how you got here. These are very much your stories. You create them because they are part of you and to not create them would not do justice to who you are. You would write them if nobody read them, which is more than I can say for my own writing. So as much as I appreciate the connection you cultivate with your readers when you call them our books, I personally just don't see it that way.
Fortunately you are the most prolific author of our generation so we never really have to wait long, and yes, you are much better than Rothfuss when it comes to book three. But he's not my bitch either. So anyway, thanks for defending me a bit, I don't care about the down votes but I didn't mean to say anything too controversial to begin with!
Hope i can finally take you out for pizza next time you're in Chicago. Had a chance to do it for Michael J. Sullivan so he can tell you whether I'm mental or not. :)
I'll take you up on that pizza. I see you enough on-line that I'm pretty sure you're not mental. (No more so than the rest of us.)
I get what you're saying, and I agree with it. No, I'm not going to take polls on what to do with the books--this was actually a real danger when working on the Wheel of Time books. As I came out of fandom, I found it a real temptation (that I had to squish quickly) to put in tons of in-jokes and references.
There was a time, before I published, where I tried to write more of what I thought the market wanted, instead of what I felt I really wanted to write. It was a disaster, and the Stormlight Archive was my method of escaping that--my reaction to it, by writing only for me, in the way I most wanted to write.
So yes, you are correct. At the same time, I do consider the fandom at large my "boss" so to speak. The contract we have is that I will create art for them--not that I will let them control it, but that I WILL write it. I also have the philosophical belief that when a piece of art is released into the wild, so to speak, the author has to relinquish some ownership of it, for its own good. (And for the good of the community.)
Szeth in the prologue of book one says he can't heal from a Shardblade wound, but Kaladin can. What is the distinction there?
You should be looking to see if you can find other distinctions between what Szeth says and what happens to Kaladin, because there's three or four big inconsistencies.
The Way of Kings was named after an in story book, as is the would be Shallan's book if you don't change like you siad you might "The Book of Endless Pages", do you plan on naming all the books in The Stormlight Archive with in world literature?
That was the original plan.
I've seen you said you sent the same scene description to both the US and the UK publisher for Oathbringer's cover. Why choose precisely Jasnah?
It's partially based on the scene I think that will look best being illustrated. Also, since book two had Kaladin, I thought it would be a nice change to make sure someone else was on book three.
If Marasi could burn duralumin, would that make time go faster or her bubble get bigger?
This is on tape so I have to make sure I do this right.
It is less about the size of the bubble and more about speeds. You can expand the size and change the size of the bubble, so it's possible that you could use duralumin for either one if you knew what you were doing, but the speed is the more relevant part. So, I just wanted to say that correctly.
PART THREE: UPDATES OF PRIMARY PROJECTS
The Stormlight Archive
I didn’t do much work on Stormlight this year, as my focus was on other series. But I did want to mention that we plan to get Dawnshard in audio out very soon. Hopefully within the next few months. Max, with Mainframe, has created the audio for it–via the always excellent Kate Reading and Michael Kramer.
Obviously, the big motion on this series will happen with Stormlight Five starting in January, with a target for a Christmas 2023 release. (It could end up coming out in the spring of 2024, depending on how difficult a write it is.) Also, I will very likely do a Rock novella as part of the Words of Radiance leatherbound kickstarter in the summer of 2023.
So check back for updates as I work through the book, which will include Szeth’s flashback sequence!
Skyward/Cytoverse
As I’ve talked about already, Cytonic and two of the novellas are out. While I’m writing this, I’m around two-thirds of the way through the final novel–which, with the Jorgen novella out this month, will mark the end of this first sequence.
Turns out, Janci and I had a lot of fun working together on the novellas. Our plan was to do another set of them between books three and four, but the timing was tight on these first ones–and that was a tad stressful. So we’re now working on doing some follow-ups to the first four-book series. We’ve brought on Darci Cole, an excellent writer and one of the beta readers on the Skyward series, as a co-writer as well.
Together, we’re deciding where to take the Cytoverse and what the right things will be to bring to you after Defiant is done. There will be more, but Book Four also involves some major changes and interesting turns. So I won’t say more now, other than that if you love the series, I can promise you more is coming.
Mistborn
Wax and Wayne Four, The Lost Metal, is done and the beta readers have already finished going through it! One of my jobs will be to get a 3.0 draft of it done in the coming months, opposite working on Stormlight Five.
As many of you may know, I do two writing sessions a day—the first one from around 1:00 until 5:00, and the second from around 10:00 to 2:00 a.m. In 2022, I’m going to try doing something new–writing prose on Stormlight in the afternoon session, then doing revisions on Mistborn in the evening session. I’m curious whether this works for me, and if so, whether it’s better or worse for my pace and my enjoyment of the process.
I’ll bring you some updates as I proceed!
Are TenSoon and MeLaan gonna be in the Wax and Wayne series at all?
You have seen TenSoon in Alloy of Law, and MeLaan was mentioned by reference, though they didn't know her name.
Was it in the broadsheet?
Nope. You just watch. They both are in there. TenSoon is wearing someone's body. So watch for somebody who changes personalities drastically between the beginning and the end of the book.
Is it the police guy?
Yeah.
Now, I can share the Dawnshard theory I am currently running with, and you can super RAFO it (while also providing a cryptic teasing hint that will frustrate for years?). But before that, thank you for this book. It's not quite Secret History level stuff, but it's fantastic in a very similar way, and I am genuinely happy, and giddy, and also not a small amount of confused :P
But theory. So, I am thinking that the Dawnshards are Commands in the way "Let there be light" is a command, and the four of them are enough to explain everything. If one of them is Change (something into something else), then other plausible options might be Create (something from nothing), some form of Destroy (something into nothing), and... Stasis? Maintain? Remain? something like that.
Super RAFO! Nice theory.
Ooh, another "identity of the Dawnshards" theory, triggered by OP's "Let there be light" comment: I don't suppose the Dawnshards are in any way related to Maxwell's Equations (of which there are four), which govern electromagnetism? I used to have a t-shirt that said "And God said: <Maxwell's Equations>. And there was light," which is what got me thinking.
That's a big old RAFO, but mostly because I'm trying to stay tight lipped on the subject of Dawnshards.
Is [Nightblood] like, the Shardblades, kind of thing?
It is. So, what happened is: Vasher, who was involved in the creation of Nightblood, visited Roshar and came back with this knowledge, and they tried to create something.
So he based it off those?
Yes. And they got it kind of right.
Will Stormlight Five feel like the end of a series, or will it be more open-ended so that the next five books finish the story?
It's going to be somewhere in between those two. It will be a climactic book and should be paced differently than any other Stormlight book. I'm not sure how much I wanna to spoil, but just the pacing is going to be different. I'm going to be treating it different in how I write and build it just from a structural level. But it should feel like a climactic book. But it's not the end. It's not as much an ending as Mistborn Era One was, and even Mistborn Era One left a big door open for future eras; and it's not that decisive. When I release Book Six, it will be Book Six of The Stormlight Archive. And yes, there will be a change in focus, but if you hadn't known that, it would feel like a time jump and a little bit of a changeover, but you wouldn't go into it going, like, "Oh, this reads like a completely different series." Yes, Lift is going to be a bigger character and the Heralds are going to be bigger characters, and Renarin and Jasnah will be bigger characters. But Renarin and Jasnah are alraedy fairly decently prominent characters in The Stormlight Archive, so it's not gonna be out of nowhere.
I'll just have to let you guys see what you think, but that's what my impression of it is.
Also, would the Elantrians and the Lerasium-mistings be considered Slivers? Or is just the Lord Ruler and Vin Slivers (Via the Well)? Or do you need more power to be considered a Sliver?
Elantrians are not slivers. Mistborn trilogy spoiler warnings follow! The Lord Ruler was indeed a Sliver. So was Vin. For the rest, I would say probably not.
What defines an actual Sliver of Adonalsium is not as clear-cut as you might think. It's a term that in-universe people who study this have applied to various existences and states. Every single person on the world of Scadrial has a bit of Leras in them—a bit of the power of Preservation. Every single person has a bit of Ati in them. There's a certain threshold where these scholars would call you a Sliver of Adonalsium. But I would say that any regular Misting is probably not a Sliver. A full Lerasium Mistborn is getting closer, but people who have held one of the powers are what would probably be termed a Sliver by the definitions. If you hold all the power that makes you a Shard, but the Lord Ruler held a little bit of it and then let it go. From then on they referred to that change in him—the residue, what was left—as a Sliver. When he held it he became the Shard for a short time, and Vin was a Shard for a short time. After Vin gave up the power, what Kelsier is at the end of the trilogy—that's a Sliver of Adonalsium.
The Royal Locks
A group of people whose hair changes color based on their emotions is another one of those little story seeds that had been bouncing around in my head for years before I wrote this book. I even did a few test chapters in other settings with characters who had this physical attribute. (Dark One, which I don't know if I'll ever finish, toyed with it. As did a book set in the Aether world.)
Eventually, this attribute slid into Warbreaker. I'm glad I found a good home for it; I love how it adds a little bit of flavor to Siri and Vivenna, making them distinctive in a way that doesn't have much of anything to do with the plot. I always talk about making things connected, and that's very important. But you have to be careful not to make everything too neat. That leads to its own problems, as I mentioned in an earlier annotation.
The Royal Locks do work into the worldbuilding, as you'll find out eventually in the book. However, mostly they're around to give a distinctive feel to the world and the royal line, to show you that there is something unique about the royals. It hopefully enhances your understanding of why Hallandren would work so hard to bring them back into their own line of kings.
What happened to Rand? He's not dead?
So Robert Jordan wrote everything from Rand stumbling out of Shayol Ghul until the ending, with the exception of the Perrin scenes, which I added to that epilogue. Harriet says--his wife--says he sat laughing to himself as he wrote the scene with the pipe, but he did not tell her what it means.
Pipe?
The pipe where he-- he lit the pipe just by thinking about it.
That's also something-- he's using the Tel'aran'rhiod power to light it in the real world?
I do not know. Now, I have my theories. I think that because Rand touched the Pattern directly, when he was doing what he was doing, that he now has influence over the Pattern.
So he can change and manipulate things? But he's-
That's what I think, but Robert Jordan didn't say, and he did write those scenes himself before he passed away. So, I wrote the actual Last Battle-
All of it? That was so epic.
Yes. So he took over-- where he left was right when Rand stumbles out. The Last Battle chunk before that was me. He wrote Mat in the Tower of Ghenjei... He wrote most of Egwene in The Gathering Storm, and then little snippets of Egwene all the way through. Perrin was almost one hundred percent me; he didn't leave much on Perrin. With Rand, he wrote little chunks here and there...
So I do not know. Now, I can tell you that there in the notes that when the balefire streams, when they crossed, intertwined [Rand's] soul with Moridin's soul. And one thing that his assistant said is that the [soul] that wanted to live found the body that was going to live, and the [soul] that wanted to die found the body that was dying. And that's what happened.
They swapped bodies because he had this thing-- Why didn't he go in and say "hey everybody?" ...He didn't want to be with his family and friends anymore?
I think he probably came back-- He just needed a break. I'm pretty sure that he eventually let them know, but he just needed a little time. So, but I don't know for sure.
I thought it was super cool, going in, the chase between Slayer and Perrin.
I had a lot of fun with that scene.
...Also, you told me last time I saw you, that Tel'aran'rhiod is basically-- Is that kind of where you got the idea of the parallel universe in the other books?
Yeah, Shadesmar. Shadesmar you can tie directly back to my love of Tel'aran'rhiod. It's kind of mixed with that in my love of some ancient Greek philosophy things that are not that important, but yeah.
At the end of Oathbringer, it seems that many (including myself) felt that Szeth's return and sudden alignment with the protagonists went over a little too easily. Are they accepting of him now? Why the sudden change of heart? Are there going to be trust issues in the future?
Uh, yeah. Obviously crazy men who shift allegiances quickly, after murdering the king and starting a war, aren't exactly the sort you leave home to babysit your kids.
I think wines in Stormlight are more similar to fermented juice than alcoholic beverages, the word wine is just the closest thing in English to whatever they are saying in Alethi.
I guess you're right. With all the storms, I don't think they can grow grapevines.
Just like the word 'chicken' seems to be used where we would use 'bird'. :)
This is correct; these are both several examples of linguistic broadening and semantic change in Vorin languages.
When and Alethi says "wine" they generally mean "alcohol." Though some of them are fermented juices, much of what they drink wouldn't seem like wine to you at all. Several that the Alethi lighteyes are fond of are akin to a harder liquor with an infusion. In others, the colorings are added for the same reason we add coloring to a cola--for convenience, feel, and tradition more than taste. A character in Book Three finds themselves in possession of some distilled Horneater liquor, and it's colorless.
In The Lost Metal, MeLaan is said to be the first kandra Harmony sent off-world. Does that mean that the kandra on Roshar are not in Harmony's employment?
Yes! Good way to connect the dots. That is exactly what that means.
Brandon, you previously said the kandra on Roshar WAS an agent of Harmony.
Did I? *sounds uncertain* Well... I'm changing my mind. Yeah. No. I... uhh... Nope, not an agent of-
I know exactly who this kandra is and what they're doing and yeah. I'm going to say I don't know why I said that before, but now, no.
1. In your "Oathbringer's Timeline" blog post you said that Oathbringer ends on the 100th day of the year. What event does that refer to? The battle, the wedding, the epilogue?
2. Looking at my own Oathbringer Timeline, it seems like Venli spent only a few days in Marat. Is that true?
3. What day did Shallan and Jasnah leave for the Shattered Plains?
First, note that the timeline is a flexible thing that can be changed to make other events work if needed.
1. The 100th day of the year marking the end of Oathbringer refers to the last event in the final chapter.
2. Venli spent just 5 days in Marat before they left for Thaylen City.
3. Shallan and Jasnah left for the Shattered Plains on "Day 6927". (referring to the day number used in my calendar as explained in the "Roshar's Date System" blog post)
At the end of The Way of Kings, was Wit the actual Herald or was it somebody else *inaudible*
The Herald's the guy who collapsed to the ground all shaggy-haired holding a Shardblade. He claimed to be Talenel, who is the one they talked about in the Prelude. Whether or not he actually is is yet to be seen.
Did he just collapse or did he form out of the air?
No, he walked up and fell down.
Chapter Four
Moshe and I agreed on just about every edit or change made to Elantris. There is one small thing, however, that we kind of went the rounds about. The word Kolo.
Galladon's "Kolos" are, in my mind, an integral part of his personality. I characterize him a great deal through his dialogue–he doesn't really get viewpoints of his own, so everything I do for him at least until the ending I either have to do through Raoden's thoughts or through Galladon's own words. When I was coming up with Galladon's character, I realized I would need a set of linguistic features that would reinforce his culture's relaxed nature. So, I went with smooth-sounds, and gave their dialect a very "chatty" feel. The Dula habit of calling everyone "friend" came from this–as did their habit of softening everything they say with a question tag. Linguistically, questions are less antagonistic than statements, and I figured a culture like the Dula one would be all about not antagonizing people.
A number of languages in our own world make frequent use of similar tags. Korean, the foreign language I'm most familiar with, has a language construction like this. Closer to home, people often make fun of the Canadian propensity for adding a similar tag to their own statements. I hear that Spanish often uses these tags. In many of these languages, a large percentage of statements made will actually end in a softening interrogative tag.
Anyway, enough linguistics. I'm probably using the standard "literary" posture of falling back on facts and explanations to make myself sound more authoritative. Either way, I liked having Galladon say "Kolo" a lot. In the original draft, the tags were added onto the ends of sentences, much like we might ask "eh?" or "understand?" in English. "It's hot today, kolo?"
Moshe, however, found the excessive use of Kolo confusing–especially in connection with Sule. He thought that people might get the two words confused, since they're used similarly in the sentences. Simply put, he found the kolos distracting, and started to cut them right and left. I, in turn, fought to keep in as many as I could. It actually grew rather amusing–in each successive draft, he'd try to cut more and more, and I'd try to keep a hold of as many as possible. (I was half tempted to throw a "kolo" into the draft of Mistborn, just to amuse him.)
Regardless, we ended up moving kolo to its own sentence to try and make it more understandable. "It's hot today. Kolo?" We also ended up cutting between a third and a half of the uses of the word, and losing each one was a great pain for me. (Well, not really. But I'm paid to be melodramatic.) So, if you feel like it, you can add them back in your mind as your read Galladon's lines.
In the characters of Stormlight, who's the most enjoyable to write about?
I like them all for different reasons. I really have been enjoying writing Navani lately, so she's been the most enjoyable. But it changes.
What was the name of a Shard that you choose not to use? Like the Shardic intent you decided not to use?
I can't confirm those because I still might use them. Mostly, the things I've discarded are names that are too simple, or too on the nose.
Maybe I'm not not... People are like "oh they're just synonyms, hatred and odium are synonyms" but I see more nuance to Odium. So like it feels more deep.
Yeah. If it's got a different history as a word.
But I haven't 100 percent eliminated any of them. Like, some of them are similar enough that at the end of the day, I might be like "you know what, this is better as this name instead of this name" and that would change the intents.
So you have...
I have a list of all 16 but I haven't settled on the actual name for each of them.
Oh! I decided not to do the Shard Levity. I did move away from that completely.
With a cadmium or bendalloy savant, would they be able to impact the amount of time that they can compress or expand?
Oh, yeah, yeah, yeah.
So they could fit-- Theoretically they could make-- fit more time into the same amount of metal.
Oh, that's what you're asking. Yeee-- *pauses* So, yes, technically, because... Yes, but mostly what that's going to do is going to influence your strength and how much you can multiply--
The size of the bubble?
The size of the bubble and the amount of time, like when you flare, you are pressing more time into it and a savant is gonna get really good at that. They're gonna get good at changing the bubble and the shape of the bubble, they're gonna get good at some of the other things involving the bubble. It does technically, as you become a savant, does mean you're able to squeeze a little bit more out of your metal, because that's just how it works, but that's not the main effect.
As the two Realms, the Cognitive and the Spiritual, are, well, fictional... Are they all comprised of Investiture, completely?
Yes. No, completely? Well, here's the thing. Investiture, matter, and energy are all the same thing in the cosmere. So, just like energy and matter are the same thing here. So, yes, everything's made of Investiture, in the same way that everything's made of energy in our world. Does that make sense?
So, what about what spren are made of in the Cognitive Realm? Is that just Investiture?
So, yeah, I'll dig more into that. I'm gonna go with Investiture for now, but I could change that as I move along. What I'm kind of debating is, is there a separate Cognitive state, and I don't think so. So I'm gonna go with Investiture for now.
How about Connection?
Connection is, like, the equivalent of a quantum connection in our world, so it's more like a force than something comprised of something. The question is like, "What is gravity comprised of?" And then you start asking weird questions.
With the bridge runs, how can they push the bridges across the chasms without the bridges falling in from the uneven weight distribution?
There are new diagrams in the latest edition of The Way of Kings that show there are ropes tied to the front that people pull from the back and a weight system to change the center of balance as it is being push across.
So I was wondering how you'd spin Szeth's new sword into The Stormlight Archive's narrative. I know it's very similar to the Shardblades, but its differences are going to be worthy of explanation, if the new sword is going to appear as frequently as a planned Szeth-centric book suggests.
So, if I am not missing anything, either the differences 1) will be explained vaguely, or 2) will be integrated into the greater lore (Cosmere/Zahel), or 3) will be somehow integrated into The Stormlight Archive's own magic system.
And since the sword's emitted Investiture is black and compared to stormlight by Szeth, this is my question: is the blade's "corrupted stormlight" related to anything else we've seen so far in TSA? (e.g. Gavilar's sphere...)
RAFO. :)
Chapter Forty-Six - Part Two
As I've said before, I worried about the Sarene-Raoden plot falling too much into "romantic comedy" stereotypes, so I took measures to try and make them act more honestly. In this chapter, Raoden tries to push Sarene away–but, of course, she doesn't believe him. Honestly, I think people in a lot of such plots TRY to find ways to misunderstand each other. That's the only explanation I can give for why such ridiculous things occur.
In cutting the Mad Prince, this section in the Sarene/Raoden chapters was one of the things I was sad to change. As I mentioned in a previous annotation, in the Mad Prince version of the book, Sarene thought that Raoden had returned with an army to try and take the city. I started this chapter out with a scene of Raoden thinking about the problems Sarene's realization caused. I’ll just stick it in here:
One side effect of her mistaken supposition was that she hesitated in regards to their own relationship. He could see the conflict within he–the two of them had grown very close over the last five days, acting on the feelings they had both been forced to hold back during the weeks of Sarene's food distribution. Yet, now, Sarene thought that her husband might actually be alive and, a truly devout daughter of political necessity, she felt that getting any closer to Raoden would betray her vows. With surprise, Raoden realized that he was competing with himself–and losing.
I really hate to lose that last line. It always struck me as ironically clever. However, there was another loss that was even tougher to lose. It comes in where Raoden and Sarene are at the city gates:
Raoden fell still. He wanted her to stay–he longed for her to stay. But, at the same time, he knew he had to do whatever it took to get her out of Adonis. The city was death. As much as it pained him to think of her leaving, it pained him more to think of her staying.
"He will be there," Raoden said enticingly, his voice suddenly growing quiet. "Raoden. The man you love."
Sarene's hand grew slack, and she waved uncertain eyes towards the Elantris city gate. "No," she finally said. "That's not what I want any more."
I think the reason I hated to lose this scene is obvious. Right here, Sarene gets to choose "Spirit" over the images she has in her head of the perfect Prince Raoden. It's an opportunity for her to show that she really does love him, despite what he is, despite what the other options might be. It's love offered against logic and against wished-for dreams. In other words, it's realistic love. Of all the scenes I had to cut, these few paragraphs make me the saddest to lose, I think.
When creating something for Mr. Sanderson, is it normally a back and forth? As in, if he sees something you draw that doesn’t quite fit what he imagined but might run with it, or is it more so slightly editing stuff until it resembles exactly what was in his mind?
Good question! It is normally a back and forth. Oftentimes we work hard to get a specific vision he has in mind. Other times, he'll see something he likes better in the concepts I present to him. He's pretty open to new interpretations, if he likes the direction we're going better than what he originally had in mind, so long as we don't contradict what's already been written in the text. There have been several times where the art has informed the text of an in-process book, and we go back through the book to change the descriptions to match the art. But most often, we make sure that the art--as best as we can--matches the text.
Is there a time when you two felt strongly on a design and disagreed, or are you both very open minded?
This occasionally happens, but we're both very open minded about these sorts of things, and in the end, Brandon is the director of his stories. I would let him know if I thought going a certain direction in the art was a bad idea. He would let me know if thought the same thing about a direction I was taking something. It's a very respectful process.
There is a metal used to charge in the last Mistborn book, is that lithium?
[Sounds like he's going to say "no" but then changes his mind] I'll dig into that, that's another RAFO. But I'm glad you're thinking along those lines. Let's just say that.
We've seen that it's possible to bond multiple Shardblades, what about multiple spren?
RAFO!
I asked him for more info on what he meant when he said that Stormlight will be organized as two 5 book series within the total 10 books.
Understandably he didn't want to give much away, he wouldn't say if there would be a time skip or not. He did tell me that there would be a large change in tone between books 1-5 and 6-10. Also, he said that since book 2 is now going to be Shallan's, he wants Dalinar's book to be number 5. He then talked about how the 5 characters that were introduced in depth in WoK would be the the 5 flashback characters for the first 5 books and the others would be more focused on in the final 5 books.
So on the cover for Alloy of Law, is it Wayne standing next to Wax?
Yes and Wayne has a gun. So, we saw that. We didn't think it was worth changing. We recognize that that's the way it is but it's mostly just because the covers aren't meant to be an illustration of the book; they're meant to be evoking the feeling of the book and we liked the feeling of the book. We didn't want to have to go back to do reshoots because that's an actually photography shoot. All of those books, he has actors dress up and do the shoots and then Photoshops it.
It wasn't bad enough to make us say, "Ooh you have to go reshoot this whole thing." But Wayne has just not realized he's holding a gun yet and dropped it. Someone handed it to him and he's like, "What? Oh!" but they got the shot right before.
What happens if you try to summon a Shardblade, but there is a wall where it would appear? What about liquids in the way, or person, and what if Shardplate is in the way?
Generally, the Blade isn't going to appear inside of something solid--and will appear (shoving aside) in liquid. It can be hit or miss on people, but generally doesn't work--and Shardplate would stop it from materializing.
In Mistborn Era 1, they don't...aluminum in real life can only really be refined through the use of electricity.
You can actually get it before that. For instance, Napoleon had a set of aluminum dinnerware that he gave to the really fancy guests. If you weren't fancy enough, you got the gold. So they could get it in elemental form without electrolysis or whatever the process is. You could get it, but you couldn't make it. It was extremely rare till the modern era.
They have started to figure out that process in Mistborn, and it soon is going to become really common.
Once aluminum is dirt cheap like it is--
That changes the world a whole bunch!
