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What happens if you put Shardplate in a highstorm? If you are in Shardplate and you go out into a highstorm...
You're pretty well protected, but a boulder flying through the air can still do some major damage to a person in Shardplate.
What will happen to the gems in the Shardplate?
They will be recharged.
I’m absolutely in love with the world I’ve created and have spent years in its building—magic systems, political systems, cultures, races, etc.—but I feel it is not original enough to warrant publication. I have, to a certain extent, trapped myself in the tropes of fantasy—mid to late 13th-century setting, races based off the classics of orcs, dwarves, and elves, and unwittingly I created a nation of people who I fear will be compared to the Seanchan in their intent, if not their culture.
The storyline itself is very original (with the exception of the Seanchan-esque nation), and the few people I’ve spoken to about it have said it sounds exciting.
So I guess my concern is this: do you think I have a legitimate concern in that my work may be perceived as unoriginal and therefore not worth publication? Or can writing style and an original storyline make up for that fact?
My experience has been that writers worry about this more than they should. Now, that’s not to say we shouldn’t worry about it at all—but generally, readers are a little more forgiving of us showing our influences than we think they will be. The Wheel of Time has some very Tolkien- and Herbert-inspired sections, and is generally considered to be a highly original setting, even if it’s true that the Aiel are inspired by the Fremen.
Harry Potter wasn’t actually that original an idea; wizard schools have been a staple of middle-grade fantasy for years. But her combination of everything together was amazing. So I think you can absolutely take tried-and-tested, well-worn tropes and combine them into something that is greater than the sum of the parts.
My suggestion to you is to write the book. I think that, because you’re aware of this possible problem, you’ll naturally take it in different directions. Then give the book to some readers and try very hard not to predispose them toward what your fears are. After they read the book, let them give you feedback. If a lot of them are saying it feels derivative, maybe see if you can make some things more your own. However, most likely they’ll say something like, “This feels like the Seanchan, but in a good way.”
We are all inspired by the things we read, watch, and love. Learning to take this inspiration and make it into something newly yours is part of the process of becoming a writer. Give yourself that chance, and I think you’ll find a balance you like.
If you could co-author with any author dead or alive, who would it be?.
Wow. Well I already got to do that on my favorite author, right? So if I were going to pick another one-- Oh, I'd write a book with Oscar Wilde. That would be real interesting. That would be a lot of fun.
My other question is about the phrase "Shadows of Self". It's mentioned in the last Mistborn book. Is it a specific shadow? Are we going to see if that shadow's in Shadows of Self?
We are not going-- Well yes and no. What it is referencing in this book is the different roles that each person plays in their life. That is the core meaning of Shadows of Self. But then, there is also, there is a kandra involved, which they change shape and become different people, so "who are you?" and identity is a big thing.
What were your inspiration when you wrote the [Mistborn] series, or for particular characters--
Well, Mistborn-- I passed, honestly, through a fog bank at 70 mph driving from my mom's house, and I'm like, "This looks cool, I've got to use this." That's the first thought I can think of. Feruchemy goes back to being in high school and being an insomniac, being really tired and wishing I could store up my sleep, so I'd be sleepy when I wanted to be sleepy. Kelsier's inspiration was a guy who had been only out for himself, who realized the greater import of doing something.
Where do gemstones come from?
Gemstones on Roshar are mostly coming from gemhearts. And, I remembered to stick in some mentions of this in Oathbringer, 'cause a lot of people have been asking about this. It's not something-- like, the daily ranching of animals for their gemhearts is not something that we bring up a lot, but there is some limited mining operations on Roshar as well, you've just gotta get through the crem.
So what about the things you left out when you finished-- What was the one thing you wish you could have gotten in there most?
Most that I wish I could have gotten into The Wheel of Time? My favorite sequence that got cut, writing-wise, was the sequence where Perrin travels in the Ways and defeats Machin Shin with the Ogier. It's a beautiful sequence, it came out really well. The problem is reading the book you don't miss it because it was a big deviation. So I'm not sure if I wish that one would have made it into the book.
I tried to get Rand engaged, and that one I think-- I think as a whole a lot of people are confused when they come to me and wish that they could have known a little bit more about that relationship and I tried to have the three-- I tried to write a scene where the three women weave a bridal wreath together to give to him and Harriet did not like that scene because she thought it might contradict Rand later wondering if any of them would follow him, which is a scene that Robert Jordan wrote. I didn't think it contradicted but since we had that scene from Robert Jordan and since Harriet-- She's the boss, I was happy to cut it according to her wishes. I miss that one.
Is there anything-- Is any of that going to be in the Encyclopedia coming up and are you doing anything with it?
I am not doing anything with it. It is all Harriet. In fact when Robert Jordan and she signed the contracts for it it was always going to be her project and not his.
Chapter Thirty-Eight
Preservation's Power
All right, so maybe I lied about there only being three magic systems in this book. It comes down to how you term the powers of Preservation and Ruin, who kind of blanket the entire system. There are a lot of things going on here, and—well, the truth is I don't want to mention all of them, for fear of spoiling future books. However, I'll give you a few rules to apply.
First, to these forces, energy and mass are the same thing. So, their power can take physical shape—as Preservation's did in the bead of metal Elend ate. Second, there is a bit of Preservation inside of all the people—and it's this that allows the people to perform Allomancy. It needs to be awakened and stirred to be of use, but when it is, a proper metal can draw forth more of Preservation's power. It's like the metal attunes the bit within the person, allowing it to act as a catalyst to grab more power.
Allomancy is not fueled by metal; it is fueled by Preservation. The metal is the means by which a person can access that fuel, however. If there were another way to access it, then the metal wouldn't be needed.
Preservation's touch on people differs. Some have more, some have less. This doesn't make them better or worse people—indeed, some most touched by Preservation have been among the worst people in the world. As Ruin later points out, there is a difference between being evil and being destructive.
Regardless, if a person can get more Preservation into them, they become better Allomancers. Hence Elend becoming a Mistborn. Like all people, he had the potential within him—it was just too small of a potential to be awakened through normal means. That little jolt of Preservation's body, however, expanded and awakened his Allomancy.
As a tidbit, that was a side effect of what that bead of metal did. It wasn't the main purpose of the bead, and if another Allomancer were to burn it, it would do something else.
I recently learned that Roshar is modeled off of the Julia set. This magical fractal concept. I would like to know who of you pulled that off, and are there more things that you are inspired by stuff like that?
We both pulled that off. The Julia set, when we first did a map-- we almost didn't do a map for The Way of Kings. It was the last thing that we did. And Brandon said, "I think we need a map". And so we put that in and he gave me a picture of the Julia set and he said, "I want you to make this into a map". So we made it into a map, did all the coastlines and things. And then what was the--
The reason being, I had in the back of my head this whole idea with patterns and math and the idea that Roshar is a constructed world, built and grown. And I liked the idea of fractals and the idea of mathematical formulas and these things being the basis for where Roshar came from. Which, you know we've got a base ten world in a universe that's base sixteen. Well, base two, but whatever.
It's this weird thing where Roshar I specifically wanted to have some of these mathematical underpinnings. So when I saw this computation of the Julia set running, it looked like a map to me. But of course, that happens a lot. Mathematical formulas, fractals, these things look like maps because maps are fractals. This is why we see-- Maybe you've seen it when paint peels on the wall, you might look at it and be like, "Wow that looks like a fantasy map". Or when rust forms, you'd be like, "That looks like a fantasy world!" I know that happens to Isaac all the time.
The Mistborn world came about that way. It was from a rust-thing that looked a lot like what Brandon had drawn.
So when I saw that, I thought, "This is a world". And I filed that in the back of my head. Roshar, in the very first incarnation, had a different shape. That was the 2002 version I wrote. When I wrote it in 2009, I wanted a different shape. The map that I had drawn didn't work.
You did ask if there are other things like that. I would just say pay attention to the Shattered Plains and pay attention to the shape of Kholinar. Among other things.
Blushweaver
Blushweaver was the first of the gods who I named, and her title then set the standard for the others in the Court of Gods. Lightsong was second, and I toyed with several versions of his name before settling. Blushweaver's name, however, came quickly and easily—and I never wanted to change it once I landed on it.
When developing the Court of Gods, I wanted to design something that felt a little like a Greek pantheon—or, rather, a constructed one. Everyone is given their portfolio by the priests after they Return. Blushweaver was given the portfolio of honesty and interpersonal relations, and over the fifteen years of her rule, she's become one of the most dynamic figures in the court. Few remember it anymore, but she was successful at having her name changed during her first year. She used to be Blushweaver the Honest, and she became Blushweaver the Beautiful through a campaign and some clever politicking.
Many think of her as the goddess of love and romance, though that technically isn't true. It's just the name and persona she's crafted for herself, as she saw that as a position of greater power. She actually toyed with going the opposite direction, becoming the chaste goddess of justice and honor. However, in the end, she decided to go the direction that felt more natural to her.
After these fifteen years, it's hard to distinguish when she is being herself and when she's playing a part. The two have become melded and interchangeable.
When designing this story, I knew I wanted to have a beautiful goddess to give Lightsong some verbal sparring. However, I realized early on that I didn't want to go the route of having a disposable, sultry bimbo goddess of love. I needed someone more complicated and capable than that, someone who was a foil to Lightsong not just in verbal sparring, but someone who could prod him to be more proactive. And from that came Blushweaver.
In the original draft of the book, this chapter had a slightly different tone. Lightsong didn't look forward to sparring with Blushweaver; he cringed and wished she wouldn't bother him. That artifact remained until the later drafts, though it didn't belong. I wrote the later chapters with them getting along quite well, so I wanted to revise this first chapter to imply that he looked forward to their conversations.
Did you have the ending planned out for the Reckoners series when you started writing?
Then I build a series around the ideas and themes that worked in the first book.
I had the ending of the first book well in mind. Once I finished it, I sat down and plotted the next two books.
This is very common for me in a series. Writing the first book, making sure I have the characters and ideas down first.
I was wondering how Talenel'Elin is able to speak perfect Alethi without much of an accent at all. I believe Dalinar thought that it was a Northern Alethi accent. He is able to speak perfect Alethi after coming back from Damnation being seemingly isolated for 4500 years. Knowing what we know about language development in the real world over time, wouldn't the Alethi language change as well as to be almost incomprehensible?
If he is not isolated, I supposed that would venture into RAFO territory.
The language has indeed changed drastically.
So...RAFO.
This is a rather long chapter. Longer, actually, than I probably would have put in a regular story. However, the triad system kind of forced me to lump all of these events together. It was important that I show the danger of Shaor's gang, as well as the way New Elantris was progressing despite its problems. At the same time, we needed to find out more about Galladon eventually. So, when I did the "find the pool" chapter, I had to include these other items before it.
I kind of wish that I'd been able to include the "Once so very beautiful. . . ." in this chapter somewhere. If you've been watching, you'll know that I do mention the man several other places, often when Raoden is near the Hoed. This is one of the more clever little twists of foreshadowing in the book, if I do say so myself.
Worldbuilding After The Fact
That said, this chapter has some of the strongest historical worldbuilding in the book. This information–about Silimatics, the Incarna, and Biblioden the Scrivener–was all added to the book later as I developed it. The thing about a big free write like I did is that it just . . . well, wasn’t publishable.
Once I had a draft of the book, I knew that it would need stronger worldbuilding if I was going to make a series out of it. I needed a history for the Librarians, and motivations for what they were doing. So I did a lot my brainstorming for this book after I wrote it, which was kind of an odd experience.
Lightsong Refuses to Get Out of Bed
As I've already mentioned, this is a chapter where—after a climactic focal point in the book—the characters backslide a tad in order to enforce that there are still struggles going on. Did I consciously decide this? No, honestly. I sat down to write this chapter, and I felt that I needed to spend a little more time focusing on the conflicts of the characters. So that was intentional. But the placement in the book? That was just by gut instinct.
Llarimar has been holding this little tidbit—the knowledge that he knew Lightsong before the Return—back for just the right moment. He knows his god well, and understands that information like this can be very powerful as a motivator. He's been waiting for years to use this hint at a time when Lightsong was morose. (And yes, that happens to Lightsong fairly often.) This seemed an important moment to keep the god motivated, so Llarimar doled out the tidbit. Talking about the past of one's god is unorthodox, and maybe even a little sacrilegious. Fortunately, one of the nice things about being high priest is that, on occasion, you get to subtly redefine what is orthodox and what isn't.
He did make sure to send the servants away first, though.
Is Doomslug capable of using Hypertravel as well as taking matter with her?
RAFO. Doomslug will be very important to the next book. She's very relevant to the events of the book coming out in December.
Thank you for finishing The Wheel of Time. How do you think it influenced your writing style? Did you adjust your writing style through The Wheel of Time to the original writing style of Robert Jordan?
What an excellent question! So, when I first started working on The Wheel of Time, I tried to imitate his voice exactly, and it came off like parody. So, instead, I backed off on trying to imitate every word and instead I tried to match the character voices as best as I could, and this ended up working a lot better. I often say, it’s like the same actors, but a new director. It had huge effect on my writing as well. I had to lift heavy weights, so to speak, and I feel like I came out of The Wheel of Time being much better at juggling a lot of different smaller viewpoints and combining them into a whole.
The name "Ars Arcanum" deserves a note as well. I’ve always liked how Ann McCaffery named her appendix the "Dragondex" in the back of her Pern books. One of the biggest draws of my books are the magic systems, and since I intend to do a new one for every series I write (and many, like the Mistborn trilogy, will have multiple magic systems per series) I wanted some sort of "catch all" title I could name the appendixes in each of my books.
I fiddled around for a while. Ars Magica was my first choice, since it's kind of a cool Latinate take on "Magical Arts" or "Magical Skills." However, there's an RPG out with that name, and I figured I wanted to stay away from their title. Ars Arcanum, then, was my next choice. I ended up liking it better, if only because it has a little more true Latinate feel to it.
Chapter Sixty-Two - Part Two
Betrayal and Trust
Sazed's discussion on betrayal and trust here is very important. It harks back to Vin's conflicts in the first book, as well as one of the major interactions between her and Kelsier.
Kelsier believed that it was better to trust people and be betrayed than to never trust at all. He loved his wife, but worried that she'd betrayed him. It was a major source of pain and conflict for him. Yet, in the end, he decided that even if she had betrayed him, he preferred having loved her and trusted her. He treated his crew the same, not letting a worry about traitors ruin the companionship of his team.
I wanted to work this into Sazed's scenes here because, to me, this entire series uses trust as a theme. Whom do we trust and why? Do they deserve it?
It's about being betrayed, but taking the time to understand why we were betrayed. Kelsier forgives Mare, Vin forgives TenSoon. Sazed has to forgive God.
Is there any story which you would want to reimagine if you had the time to write it?
The one I am most likely to want to reimagine is Mistborn, because I am doing the screenplay. As you can see, we now have the progress bar up on that. And it's been very fun to reimagine it, kind of doing some of the things that over the years I'd wished I'd done. No spoilers, but the ending of Mistborn has a bit of a deus ex machina to it, that I would rather find a way to not have happen. I'd like a little of the pacing and plotting to be more elegant. A bunch of stuff with the skaa rebellion and things just never quite came together in the book the way I wanted it to. So that's the one of mine I'm most likely to actually reimagine.
There's a decent chance if I decide to adapt Emperor's Soul to the screen, that I would have to do a reimagining of that, as well, to make it work as a film, rather than happening in one room.
Will there ever be a story or book about a character as they move (fully) into a worldhopper. I'm thinking a story like how Khriss went from a protagonist in White Sand to a well known world hopper/scholar of the cosmere.
Yes, you'll see this eventually.
In reading about Adonalsium and Odium, I get the sense that it's more related to lerasium and atium than it is to, like, Preservation or Ruin. Because, sometimes it seems like we're identifying... Odium and Adonalsium as beings instead of, like, the body of--
Yeah, it is a little confusing by design. The question is, like, telling the difference between the Vessel who is holding the power, the intent of that power, and the physical manifestations of that power as Investiture or as whatever, these things are confusing. And I did this on purpose. I like that blurring between them. One of the things I did when I was designing the magic for the cosmere, was-- you guys know this very easily from looking at the books, I love the ideas of quantum theory, string theory, all this stuff. And even, just looking at quantum mechanics as we understand them right now. And the further you get into the details, the more the rules that you built, everything you understand upon, become blurry. And we live in this world where certain scientific principles, like-- I was sitting at a writing group, talking to my friend who's a mathematician, and I'm like, "I really like math 'cause it is objective. One plus one equals two." And he's like, "Well, the further you get in math, the less that actually is true, and the more 'One plus one equals two' is a philosophical statement, not an actual objective truth." And we talked about the nature of, the further you dig into things--
So, I tried to build the cosmere magic-- For instance, how the Bands of Mourning work. We are getting away from Step 1, which is, "Metals push or pull." We can get that. Into Step 2, where we are building complex machines out of the interactions between the magic. And we will then get to Step 3, where it's like, we can explain the principles, but you need to be a computer engineer to understand exactly how the computer is working. And I wanted to be able to build to get to that point. With the philosophy of, "What is the power, what is the individual, what is the intent," and things like that, we're kind of going that direction, in a philosophical direction. What does it mean? What are the answers?
Humans like things to be divided and put in boxes, but in nature, these boxes are usually arbitrary, of our distinction. So, I like that aspect of our interaction with the real world. So, the answer to your question is, this is not a question for me, this is a question for philosophers. Where does the intent stop, and the being begin? And what does it mean to have a body? Is the body of the original person that has taken up the Shard, the Vessel, when that drops out when they die, is that their real body? Or is that just the power pushing out something that it absorbed and recreating it, and dropping a copy of it? What is that? What's going on there? What's it mean? How much can a Vessel influence their intent? This is all a question for philosophers, that I'm going to explore in the books, but it's not the sort of thing that you're like--
Does one plus one equal two? The answer is, one plus one equals two according to this proof that we believe explains the universe, but is a little fuzzier than you think it is.
How can Szeth apply multiple Basic Lashings to an object - wouldn't the first one send the object immediately beyond his grasp?
Hold something in your hand. There is a "basic lashing" pulling it downward. How hard is it to keep holding on to?
Often, though, then I have him Lash multiple times, he either does it all at once or in very quick succession.
I was mostly interested in cases where Szeth lashes really heavy objects - stone blocks or tables - to the side. They are not things he can hold (usually), and my understanding of physics suggests that a second after the first Lashing the object would be 9.81 (well, less for Roshar) meters away.
Maybe I can find an example where it feels weird.
Yes, please. It's entirely likely I've made a mistake somewhere.
With the blocks, the ones I remember are where he has to overcome friction.
Why are you a plant in the back of the book?
Well, here's the thing. When I wanted to do a picture in the back of the books, the original versions that the other publisher did, I said I wanted a silly picture. And they wouldn't let me put a silly picture. So I wrote that I was a potted plant, and then put my own picture. But when we did the reissues, the new publisher's like, "Eh, I guess we gotta use a potted plant," and then they went and got one and put it there instead. And I was totally fine with it. The joke was that it was just me but it said it was a potted plant, but now it is a potted plant.
We <3 you, Brandon Sanderson! Now hurry and publish more books, lol!
Lol. Dana, I'm REALLY trying to publish as many as possible. Magic cards do help, though... In a more serious tone, I do offer to let people read my older books. So if you're starved for something, you can shoot and email through the website and ask for White Sand or Aether of Night. They're not up to my current standards, but they're okay. And if you're really interested in the larger story happening behind the scenes in my books, those two novels are important. Watch for the Wells of Power in Aether of Night, for example. There will be an Elantris sequel some day. Hopefully.
I've seen in reviews of Mistborn that a criticsm that pops up from time to time is that you tend to repeat the basic principles of the magic system. I've seen that some feel hit over the head with it. Personally, I liked that fact since the magic system was new and it helped me to remember and understand.
I'm also seeing criticsm now with Warbreaker that the magic system isn't explained enough to thoroughly understand it. I've pointed out in discussions that not even Vasher understands it all.
But here's my question: Did criticsm of the magic system's explanations in Mistborn have anything to do with Warbreaker having considerably less explanation in its magic system?"
Wow, that's a very detailed and interesting question. The answer is no.
...Okay, there's more to that answer. I accepted the criticisms of the Mistborn books with the knowledge that there was really no other way around it—the way I was writing those books and the complexity of the magic system made me feel like I needed to give those hints. It's not like I'm trying to write down to the lowest denominator, but at the same time I want to make sure that the complicated magic system is a force driving the book—and is something interesting rather than something confusing. Across a three-book epic like that I wanted to make sure that I was not leaving people behind. That's always a balance in a book series. And I don't know where to set that balance. In fact, I think the balance is going to be different for every person. Any given book that you read, some people are going to find it overexplained and some people are going to find it underexplained. I'm always trying to strike the right balance, particularly for the tone of a given book, to make that work for the novel.
With Warbreaker, as you've pointed out, the magic system is much less understood by the poeple taking part in it. In the Mistborn books the magic system is very well understood. Even though there are little pieces of it that people don't know yet, those peices are easy to grasp and understand and use once people figure out what they are. In the Mistborn books the world is in a state where people have spend 1000 years using this magic system and perfecting it and understanding it. In Warbreaker, they haven't. They still don't know much about what's going on. It's very mysticized. People haven't sat down and spent enough time pursuing scholarly research about it, figuring it out. Beyond that there's no immortal Lord Ruler figure explaining it all to them—or if there is, it's Vasher and he's not telling anyone. And so the magic in Warbreaker has a very different feel to it. I wanted it to be a little confusing, because it is confusing for the main characters.
I wouldn't say that the criticism of the Mistborn books is what drove me; the needs of the various plots is what drove me.
Can Shards be spiked?
Like, a Shard of Adonalisum? This is just not gonna work really well. It's a little like saying, "can I give a piercing to a whale?" Like... okay, but it's not gonna do anything, it's gonna fall off. And the moment they notice it, it becomes irrelevant. It's the most technical of yeses, but it's just basically worthless to try it. Because, again, you're gonna have to find a physical form of a Shard to do that, so what are you doing. Is it some avatar that they've made that'll just evaporate when they're done with it? What does it even mean to spike a Shard? Are you talking about somehow getting access to their Vessel, which has been completely transformed into Investiture at this point, so how do you spike that? There's all sorts of asterisks to this answer, but a technical yes; I'm sure you could find a way to do it.
During Adolin's exploration of Urithiru (right before he murders Sadeas) he comes across a painting
A fanciful picture with animals from mythology. He recognized a few from children's stories, like the enormous mink like creature with the mane of hair that burst out around and behind its head. What was it called again?
Let's answer Adolin's question. Is that a lion. Does this mean that normal animals once inhabited Roshar but became extinct or were forced to adapt after the arrival of Odium or the Highstorms. Or maybe these were artist illustrations from stories brought over to Roshar by worldhoppers? What do you think?
With shardpools being a thing and worldhoppers like Hoid being a thing as well it's entirely possible that people brought stories of the fauna of their world with them when they came to Roshar. After all, we know (via Word of Brandon) that the Horneater lakes are shardpools so they could have knowledge of lions via travelers, seeing them in the pools or some other way (worldsingers?)
Edit-- just noticed you mentioned worldhoppers. I think that's what it is, but it could also be stories from the original inhabitants if (big if) the original inhabitants came from elsewhere in the Cosmere.
Edit again -- They might have gone extinct after the arrival of Odium. If the rest of the world was akin to Shinovar prior to Odium then it's entirely possible for their to have been lions, tigers, and bears (oh my!).
Unless someone asks (or has asked) Brandon then I have no clue.
[Brandon]can you aid us in our questions?
No, it seems like you're asking the right ones.
Can you aid us in getting answers?
I've done so already, by providing two in-depth discussions of the nature of Roshar. They're called The Way of Kings and Words of Radiance.
Vivenna and Vasher Meet with the Idrian Workers
Now we get to see the other part of what Vasher has been doing all this time—the part that I couldn't show you earlier, since it would have made it too obvious that he had good intentions. (And that, in turn, might have spoiled the surprise that Denth was manipulating Vivenna.) He's been trying very hard to convince the Idrians not to get themselves into trouble. He's been only mildly successful.
Vivenna listening here has some things to work through. Some alpha readers had difficulty with how easily she started helping Vasher, so I've reworked that in the final draft. Hopefully you now see her struggle and her reasoning.
What she sees here is something real. She notices that most of Hallandren doesn't care about Idris or the Idrians. When I lived in Korea, I sensed a lot of resentment from the Koreans toward the Japanese. The Japanese had done some pretty terrible things to the Koreans during the various wars throughout the history of the two countries, and the anger the Koreans felt was quite well justified. The thing is, most Japanese I meet are surprised to hear how much resentment there is. It's kind of like Americans are sometimes surprised to hear how much dislike there is for them in Mexico.
When you're the bigger country, the one who historically won conflicts and wars, you often don't much notice the people you've stepped on along the way. While the smaller country may create a rivalry with you, you may not even realize that you have a rival. This is what happened with Hallandren and Idris. While some people push for war, the general populace doesn't even think about Idris—except as that poor group of people up in the highlands who sell them wool and do jobs they, the Hallandren, don't want to do.
This can be very frustrating for someone from the smaller country, like Vivenna, when confronted not with anger, but with indifference, about your feelings.
This is a short scene, but one of the more important ones to show off a little character development in Elend. He is beginning to see some of the truth in Tindwyl's words.
Pulling off a transformation like his was one of the great challenges of this book. Actually, the plot was pretty easy–but getting Elend and Vin's relationship down, along with the development of both of their characters, was much more difficult. It takes a subtle hand to make Elend learn to be a king without having him progress too quickly, and I'm not sure how well I did it.
Vin's development–showing off her inner distrust without making her seem paranoid or making their relationship seem shallow–was even tougher.
Is there a reason why Rashek left a nugget of Lerasium at the Well of Ascension?
He left several. It was, in his opinion, one of the best kept secrets and best protected locations in his empire.
Were there originally 16 of them?
An excellent guess.
Are sandlings from White Sand an early concept for crustaceans on Roshar, with greatshells being a parallel to deep sandlings?
No, um, the idea for white sandWhite Sand came first, and it was more that I was exploring divergent ecology, but I've been doing that in Dragonsteel and in White Sand and in here with Roshar. I would say that the fact that white sand hadn't been published meant that I could do something's that were similar without worrying about repeating myself, but it's not like I used them specifically as models.
*jokingly* So are we going to get to see little dragons running around in Dragonsteel?
Uh, well, in Dragonsteel the dragons are sapient, so when I write Dragonsteel I will put dragons in there, but the dragons are intelligent and uh, can take human form, but there are actual little dragons.
Wait, they can take human form?
Yes, yes, yup.
In your previous fantasy series, you had one main character or plotline, with only a few secondary characters and subplots. But here in The Way of Kings, you expand this to three main plotlines and dozens of secondary characters. Was this division of the book into three main protagonists rather than just a single "lead" something that you had intended from the first draft, or did this story division develop over time and many drafts?
With how long this book has been around, it's hard to say what was in the first draft and what wasn't. If we look at The Way of Kings Prime—the book I wrote back in 2003, then tossed aside and rewrote to create this book—I did have quite a strong multi-character focus. It's always been something I wanted to do. I actually scaled back a little bit for this draft. In the previous version I used six main characters; there was another character who has not yet appeared in the new version, and Jasnah was a main character with as many viewpoints as the others. It was too distracting, too much to juggle. So I pulled back a little bit. But to me, this series is not about one person. That's just how I conceived it from the start, and that's what I want to do with it. That will continue.
And I saw on facebook about the discussion about the name of the second book. This is more like a request, please, keep the name of it being The Book Of Endless Pages. That title is awesome! Oh and another suggestion, please, keep making huge books! Now, after reading your books, I expect books to be at least 600 pages, so you can see I get disappointed quite often lol
I will keep the books, in this series at least, long. It's what the story demands. As for title...it does have a certain charm, but I worry that it just feels wrong to too many people. Three out of four laugh when I mention it. That doesn't bode well...
The makeup of Bridge Four is nearly perfect: a cook, a surgeon, a sergeant, a scholar, two Hoid-touched individuals, etc. How much effect on the composition of Bridge Four did Cultivation have?
Not a ton. They got lucky. Granted, understand a few things that are gonna explain some of this. The Hoid-touched is, there's certainly something going on there with Sigzil. But having a cook and a sergeant, if you actually run the numbers, a lot of military people are going to be trained in a variety of jobs. The chances that you end up with someone experienced as an armorer, some experience with cooking-- granted, Rock wasn't in the military before, but you know. That you have a person that has done leadership on an NCO level, and things like this. These are things that would have existed on other bridge crews as well. The coincidence is not as big a one, Sigzil's the big coincidence.
People were asking who's the other after Sig, is that something you want to...?
Kaladin. If you want to count Kaladin, as someone who has drawn Hoid's attention and he is watching. The real first interaction is the Wandersail one, but Hoid had his eye on Kaladin. You pay attention when people start to form Nahel bonds around you and you're trying to figure out how they work.
You did, in your last Q&A, mention you weren't super big on music theory. So did you know, beforehand, when you were designing pure tones, one aligning with all the different Shards, that in your standard octave you have twelve tones, meaning that four Shards and another four are gonna be paired up? Or are you kind of departing from...
This is part of where I kind of got into trouble with my music theory. I'm like "what if I had a sixteen note scale?" And then I talked to all my music theory people, and they're like, "Well, this and this and this and this." And I'm like, "Oh..." You can't just make a sixteen note scale. It doesn't actually work like that. And so, in this case, there are going to be some tweaks, some things that are there. But this is part of when I kind of talked about how it wasn't quite working the way that I'd imagined way back when, once I talked to people who knew music theory. But I do have how it's going to be going forward.
Is the liquid in the Well of Ascension Invested mercury? What is the chemical composition of lerasium + atium?
No.
RAFO!
My background is twenty years of military, and as I've been reading your Way of Kings, I've found that your insight into what it like to be a member of the service, all the mental trials including post-traumatic stress disorder is all very well thought-out and I'm curious how you came across that knowledge.
Lots of interviews and lots of reading on forums. People who post their hearts and souls on-- if you find the right forums, where people are among like-minded individuals, you can watch like a fly-on-the-wall and see what people are saying and how they are feeling. Because I strive for authenticity, that's what I-- whenever someone is feeling I want it to be authentic, and the more far removed from my own experience the better it is, if that makes sense to me, to get it into my books. So I try very hard for that.
In fact I'm going to be suggesting to the Veterans' Administration to use the series for treatment for PTSD. There are literally some things in there I've never seen anyone actually understand or get before. Some of my military friends have just been in absolute tears after reading your book.
That is an honor to hear.
Would a macaw be able to become a Radiant? Or do you need sentience?
You need sapience. A macaw could not become a Knight Radiant. A macaw could, theoretically, enter a symbiotic spren bond, which would have different effects. Like, Ryshadium or even most of the larger greatshells don't have sapience. But a lot of creatures on Roshar do have what I would term an in-between step between human-level intelligence and animal-level intelligence on Earth. Ryshadium are in this; chasmfiends, as well, are smarter than an animal can get on Earth.
Is Jasnah's book going to be one of the backstories?
It is.
Yessssss. Favorite character.
She's on the back five.
Can we have Design's recipe for ramen noodles down to the exact grains of salt and herbs used?
Well we'll have to ask the person who's making the cosmere cookbook some day to figure that out because yes she does like to count the grains of salt. It's the sort of thing you do when you're a Cryptic.
Did Hoid give her the recipe or did she make it up herself? Who taste tested it?
She made it up herself, and she tried it on poor unfortunate people that were offered free food.
Do you consult with other fantasy authors? Or do you keep things close to the vest *audio obscured*
Do I consult with other fantasy authors? Or do we keep things to the vest? We consult a lot. We talk to each other a great deal. The ones that I know best are the ones I often go to but sometimes-- I talk to Pat Rothfuss quite a bit, and Brent Weeks, we're kind of in the same area but with three different publishers and that's really useful to us. I consult with my Writing Excuses buddies all the time. Somebody who knows a ton that I don't know very well but I know he knows a ton so I'll often ask him question by email is Cory Doctorow. He just like knows everything. We talk a lot, whenever we can. Because it is a very solitary business, so having people to talk to about it is great.
I name my computers and smartphones after spren. But I am out of names. Is there a name you wouldn't mind revealing?
Well, do you need good spren? Or is the occasional evil spren acceptable?
Your call! And evil spren would be fantastic for my new phone.
Ulim. (Also, the Unmade count as spren. You could look those up.)
I didn't think spren could be good or evil??
Most spren are neither. Sapient spren (capable of making choices) can be either one.
Chapter Twelve
Lightsong Hears Petitions
The concept of petitions—and the gods being able to heal someone one time—grew out of my desire to have something about them that was miraculous. Something obvious, something more than just an ability to make vague prophecies. Their Breath auras are amazing, true, but an Awakener with a lot of Breath can replicate that.
I took the idea of being able to die in order to heal from an idea discarded from Elantris. If you look at the deleted scenes (Caution: Spoilers for the ending of Elantris), you can read about how there was originally a subplot to the story where the Seons (the floating balls of light) could expend the Aon at their center and create a miraculous event one time. However, doing so would kill them. I eventually ended up not using this plot structure in the final draft, and so I cut all references to this ability from the book. I felt that it was too contrived in that novel.
I've always thought it was interesting conceptually, however, so I developed it into this book as an aspect of Returned that makes them different. They can create one miracle—and in this world, that one miracle has to be a healing. They can expend their divine Breath to heal someone.
This created another problem for readers, however. It became very difficult in the book to explain to them that a Returned could still Awaken things—but not by using the Breath granted to them by their Return. In other words, if a Returned gained a hundred extra Breaths, they could use them just like anyone else's. But if they give away the Breath they start with, it kills them.
Every person starts with a Breath. Well, Returned start with one too—a divine Breath that can be given away to heal someone else's Breath that is weakening and dying. That's what these petitioners are asking for.
But regular Breaths, they can give those away. They just have to be tricky about it.
Nazh is, presumably, well aware of Hoid. Have they met, and how does Nazh feel about him?
Nazh and Hoid have met. I suspect that Nazh is just fine with Hoid, though he wishes he would say things in a more direct way. Nazh doesn't care much for riddles or flowery language and wishes people would just get to the point.
When will we find out what the Nightwatcher looks like?
Um… well, Dalinar, in the past, met the Nightwatcher. Dalinar's third book is getting flashback sequences to his past experiences. You can postulate that one of those important past experiences might be a visit to the Nightwatcher.
How did you get into map drawing?
You know I mapped out things like The Legend of Zelda when I was eight years old. I was fascinated by my dad's paperbacks of The Lord of the Rings and the maps that were in those. It's just, I was doing maps like that for a while but when he asked me to do a map he didn't know that. It's worked out well so far.
What about a Magic-- like, card game? *interrupted*
A card game? So if the board game does well and people like it the next thing they want to do is a card game. Those I play. So, you know, not just Magic. I've played a lot of different TCGs and things. And so that we can do, and that I will be involved in if they do one. I can directly tell them if it's fun or not.
So one of the things that's nice about these projects (and I did this pretty intentionally) is that they do not require as much continuity editing as our other projects.
He says that, but there are several things that have greater implications than he might have imagined in the first place.
Well, I'm aware of those things.
And they need a lot of documentation.
Secret Project Four has a lot of extra stuff that needs to talk about.
I'm thinking of One. Yeah. I spent a lot of time on One.
But what I don't necessarily need as much of is the beta readers giving me detailed feedback on a character arc, relating to how the character was in a previous book.
Early in [The Well of Ascension], Vin calls duralumin the 14th metal. But at the end of [The Final Empire] only 12 are known to them, aluminum being the 12th.
Did they find out about electrum as the 13th (since it's in the Ars Arcanum), but didn't tell the reader? Is it intentional that duralumin is the 14th to them or was there a specific reason that electrum was never mentioned?
Electrum was found between book 2 and 3. But they said 14th because of pairing.
