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And if you let a man die with too Invested a soul—or Invest him right as he’s dying—he’ll leave behind a shadow you can nail back onto a body. His own, if you’re feeling charitable.
[Secret History spoilers] was that mean to be a subtle nod to Kelsier tied in with the awesome exposition and realisations?
Yes, to an extent.
Is the only reason that Yolen is not reachable, according to Khriss, because it doesn’t have any sentient minds on it thinking of it as a planet, so it doesn’t appear in the Cognitive?
Ahh, no. Good question, but no.
Will we ever find out what EXACTLY gold is? That's been bugging me as well... it doesn't seem complete.
I leave gold intentionally vague, I'm afraid, even by the end of book three. I do this in novels, particularly when I feel that I might do more books in a world later on. The events of books two and three don't lend me to spending much time on gold or malatium, so I figure I'll save really digging into them when I can have a character more focused on them. (I'd someday, for instance, like to do a Malatium or gold Misting and see if I can do anything interesting with them.)
Is the Cognitive Realm on other planets called Shadesmar?
For simplicity's sake in translation, for the most part, we are going to use the word Shadesmar, acknowledging that in some of the languages it may be a different word. But the cosmere standard used in Silverlight and things is Shadesmar. That's just for ease of talking about it but the scholars in Silverlight they use the actual word Shadesmar. I'm going to force Eric to do some heavy lifting for me on some other things like this.
<Expresses that not everyone will be pleased about this WoB>
Yeah I suspect that as I move into Era 4, Cognitive Realm might start replacing it, the more scientific term, but Shadesmar is the colloquial term.
If the oceans on this planet are all made of dust and sand, will we eventually find out how human-like life got there (without assuming whether earth-like life or dust oceans got here first, or that either came from somewhere else)?
Yes, I can answer this eventually. I probably won't answer it in the book. But as we talk more about the aethers and their core world and some of these things, I can answer some of this. Good question; actually, excellent question.
So, at the Forbidden Planet signing you said that when Adonalsium was Shattered, all Investiture in the cosmere was associated to one of the Shards... So, what happened with Adonalsium's spren on Roshar? Were those associated to Honor and Cultivation? What happened with them?
So they were very-- They were already associated to certain parts of Adonalsium and they went with those associations. There's a lot of Cultivation in all of the spren, particularly the natural spren.
Why doesn't Nighwielder's weakness penetrate his blanket over Newcago when it does pierce the shadow tendrils he attacks David with? Could the reason be that his clouds act as some kind of "security blanket" if for example he got his weakness from being stranded in the dessert clouds like his would have protected him from the sun, which keeps the UV-rays of the sun from triggering his weakness, because they can't recreate the situation it originates from.
I've been dodgy about answering this one, as I thought I might get into it in Book Three, but as I work on it I don't know that I am. The answer is actually pretty simple--it's for the same reason that someone manifesting Regalia's weakness in Babilar doesn't make the waters suddenly retreat. Or that Steelheart's powers didn't leave pockets of open material around anybody who hadn't ever heard of him. (Which is where this exception started in my mind, as without it, the first book would never have worked.)
Basically, I had to make the rule that a large scale, general use of the powers had a kind of immunity to the weakness--one of diffusion. But the general spreading of the powers on the large scale were also far less precise. (For example, Nightwielder could cloud the sky with darkness, but not stop rain from falling.)
Otherwise, you could just find the pockets where the Epic's powers on the grand scale were not working, and easily figure out their weakness. Hence, engaging Nightwielder directly ruins his immediate powers, but on the grand scale the darkness remains in place over the city.
It's the only way I could make the powers work on the grand scale I wanted, in turning Newcago to Steel or sinking NYC.
I think this final scene with Sarene in bed is much more powerful since I didn't show the actual conversation with Eventeo. Having it begin with a depressed Sarene, the seon link disappearing, leaves an air of melancholy on the scene that is more telling than the sense of sorrowful confrontation that would have come from having Eventeo explain himself to Sarene.
Obviously, poor Eventeo isn't in a very easy position. I didn't want him to have an easy answer; I think this is a very difficult decision for him to make, and I don't really think there is an obviously right answer–even though Sarene thinks that there is. We'll see later that Sarene doesn't look at things the same way a person who actually has to be a leader does.
I wish I could have made Eventeo a viewpoint character–he goes through a lot of conflict and trouble in the book. Unfortunately, there's never enough room to do all the things that you want to, and I like how tight the book feels with only having the rotating viewpoints.
Who is Wit?
He is a character who has been in all of the books so far and is somehow getting between all of the different planets these are taking place on and is somehow surviving the fact that these books are hundreds of years apart.
I have a good idea that he's a Mistborn.
Well he did steal a bead of lerasium.
And he has extra Breath because he said it was easier with perfect pitch.
He did indeed say that didn't he... I will eventually write a book series that is about him, but it is a ways off.
Science question!
Ohh science. Is it real science, or fake science?
It is Brandon science.
Fake science!
With the discovery of anti-Investiture in Rhythm of War, would the correct form of anti-Investiture be usable to clear up the mess in the Sel Cognitive Realm. If so, would this completely destroy a splintered Shard?
*laughs, coughs, and is otherwise stunned* That would not be a good idea. So why would that not be a good idea? So no, this would not clear up the problem. The problem that's going on in the Cognitive Realm in Sel is that a bunch of Investiture that should be in the Spiritual Realm has been packed into the Cognitive Realm instead, through a very weird circumstance of events. If you were to introduce a bunch of anti-Investiture of the right type there, you would just generate an explosion that would be a very bad thing. Matter cannot be created or destroyed, Investiture can't be either, so it's actually changing forms. It's going from Investiture into energy! Which you know, does not leave the system. So the investiture would eventually make its way back around, you can't destroy anything in the Cosmere, just like you can't destroy anything in our universe. But you can make it change forms. And so, what's going on there is just this hope by a certain individual that what has happened there will prevent the power from becoming self-aware.
It's basically Odium being like "alright I just murdered you people, I don't wanna have to come back and do it again". So he's trying to figure out a way to make this happen. As it currently stands (again, these things can change when I write future books), it was partially happenstance that he took advantage of rather than something that he was able to set up very intentionally from the beginning, but he was definitely a part.
In a recent WoB, you have stated you considered Adolin to be young, hotheaded, and impulsive. However, the narrative of Oathbringer seems to draw a very different portrayal of Adolin: he comes across as very level-headed. Hence, has Adolin's character changed since the early books? Should readers interpret Adolin as level-headed or impulsive?
It's not really my place to argue questions like this--I need to write the text, and leave it for readers to interpret. However, I see Adolin (though growing and changing) still as being hotheaded. He refuses the throne, he repeatedly takes on foes much bigger and more dangerous than himself, he leads the charge in the assault on the palace, he decides to bring everyone to his tailor without consulting them on the idea.
Adolin is a guy who follows his gut. At the same time, he's a trained duelist--and has been prepared for battlefield command since his childhood. When you're in the middle of a war (or an event like the collapse of Kholinar) you need to be able to take command and make decisions. He'd be a terrible soldier and commander if he couldn't do this.
The fact that, despite his training, he does things like attack Sadeas and try to take on a Thunderclast by himself is the proof of his character.
You're in Houston, questions of Oil & Gas and energy sources will be naturally be bandied about.
Naturally.
Is the gasoline on Scadrial a fossil fuel or biodiesel?
Oh. Hmm. Well It's fossil fue... No. What they're using now is mostly biodiesel, I think. It's not something we really talked out.
Ok, we had a whole thread on 17th Shard and even discussed how scientifically fossil fuels could have been put into place during the Catacendre.
Well, fossil fuels are possible, and I don't want to seem like I'm clearly giving credence to those that believe in a Young Earth, but Scadrial is a relatively young planet. Relatively.
Young Earth doesn't bother me, though I know I'm not the majority.
Where on Scadrial is it being produced? No mention of refineries in Elendel or the Roughs.
Where on Scadrial... Well it's... I'm going to have to RAFO that for now. It starts to touch on questions of the future as they will need more fuels for travel and they'll need to look for different sources.
For any other Secret Histories in the future, would those be on different planets or would you stick to Scadrial?
It’s possible to do others. The next one I write is probably still be Kelsier and Scadrial. But if I did another I would just call it, y’know, like “Warbreaker: Secret History”.
Would it be too much to ask for the gender of the original holder [of Autonomy]?
Uh yeah, the original holder, what do you mean by that?
Of Bav--
Yeah, we’re going to leave that one for--
*Following a reading* That's called Adamant, and the premise that made me want to start writing it was this idea of basically Silence of the Lambs in Space.
Right after this humankind is going to be betrayed by the "nice" aliens, who have given them this sidejack technology and helped them in their war against the violent Knockers. And it turns out they've been played the whole time, the "nice" aliens just wanted a nice race of obedient soldiers. They turn off the sidejack, it knocks out the entire command staff of the Armada and that leaves Jeff, who doesn't have one, who's not really a commander, in charge. He's able to grab the flagship and fly away with the Centurion in the brig, who is the greatest military mind that the galaxy has ever known. So what follows is the story of him trying to get the Centurion to give him advice on tactics in the war against the quote-unquote nice aliens while the Centurion is trying to figure out how to escape and get away from him.
It's a very fun story, but it's not ready to be released. One of the things I'm thinking of doing is if I can maybe slide this into the Cosmere, I haven't decided yet. It would be really fun to get it in there, I think it could, I would just have to lose the Shakespeare line. That's kind of hurting me because I like that line. So we'll see if I can get it in or not...
Is it part of a series?
What I'm going to do is I'll probably do four or five novellas that build-- So it's like a novel told in novella form. I kind of imagine doing some episodes quote-unquote, right? And then have a six-episode season with the last episode being the end, so a mini-series basically. Kind of like what was done with… Wool, that's what it was… I think the the serial has a chance of coming back because of ebooks and things like that.
One of the most common questions I get, as a writer, is some variation on, "Do you ever hear voices, or feel like your characters are real?" People ask it timidly, as they don't want to be offensive, but there seems to be genuine curiosity about the way a writer's brain works. (Other variations on this theme are questions such as, "What are your dreams like?" or "Do you ever get so wrapped up in your worlds that you have trouble coming back to our world?")
They're legitimate questions, though I'm not convinced that a writer's brain works in any consistently different way from someone else's brain. I think you'll find the same amount of variation in the way writers work as you'll find in any profession. There are as many ways to approach stories as there are people writing stories.
That said, I have talked to a lot of writers who imply a certain autonomy to their characters. "I had to write their story," one might say. "They wouldn't leave me alone until I did." Or some version of, "I was writing one story, but the characters just didn't want to go that way, and so took off in another direction."
To me, these are ways of trying to voice the fact that the way our minds work—and the way we construct art—is in some cases a mystery even to those involved. Human beings have this fascinating mix of instinct and intent, where we train ourselves to do complex tasks quickly through repetition. In this way, writing a book is somewhat similar to driving home from work—you can consciously think about it, and make each decision along the way. Or, more often, you just let your body do the work, interpreting things your brain says should happen without you thinking about it directly.
I spend a lot of time teaching how to write and talking about writing, but I don't consciously use a lot of the techniques I talk about. I've used them so much that I just move forward, without formally saying something like, "Now I'm making sure my chapter ties together the sub-themes it introduced at the beginning." The truly conscious technique comes during troubleshooting, when a story isn't coming together for me—and so I have to step back, take apart what I've been doing, and find the broken bits.
So again, a mix of intent and instinct is where books come from for me. I don't generally feel that the characters "want" to do things—but I still write them by gut feeling most of the way, and only look at breaking down their motivations specifically when I'm either working on the outline or trying to fix something in revisions.
On one hand, I know exactly who the character is and what they would do in a situation. So it does feel a little mystical sometimes, and you can have eureka moments during writing where you finally find a method to express this character that will convey the right idea to the reader. In that way, there's almost this Platonic version of the character that you're chasing—and trying to explore, figure out, and commit to paper.
On the other hand, it's likely that these characters feel right to me not because of any mystical connection to the abstract. It's because I'm unconsciously drawing from tropes, characterizations, and people I've known before—and I am putting them together on the page to form something that will feel right because of the backgrounds I'm drawing upon.
It's an exhilarating process for me, but also can lead to troubles. Which I'll talk about in Part Two.
Is their planet purple?
More blue-grey.
Is the Cognitive Realm flat or spherical?
The Cognitive Realm is this weird thing, where it's flat, but it's distorted.
Yeah, 'cause I was going to say, if you make a globe flat...
You can walk from one planet to the next. So it's got really weird...the spatial reasoning doesn't work the same way.
RAFO on bronze/copper twinborns because I want to leave myself room to create things.
After the Shroud was destroyed, it’s said that some of the floating plants survived and were able to grow on Komashi. Is it your intention for the birds and butterflies and insects to have also survived to present day in some way?
Yes. I intend that you can find places on the planet where that would all still be the case. Give it a little bit of time; but then, yes.
Chapter Seventeen
Siri and Lightsong Interact
This chapter has our first real melding of several viewpoints. In a way, it's a focus chapter for that reason. All four viewpoint characters, who have been off doing other things, congregate here, meeting and mixing. Lightsong and Siri, whose plotlines influence one another a fair amount, sit and talk for the first time. Vivenna and Vasher, who are far more intertwined through the story, meet eyes for the first time.
Vasher shouldn't have brought Nightblood. But he's always a little afraid to leave the sword alone for too long. That can have . . . consequences.
Anyway, it was good to be able to show an interaction between two of the viewpoint characters in the form of Siri and Lightsong. This lets us see how Siri acts through the eyes of another, and I think this scene here is one of the first where we really get to see into Lightsong's soul.
I read Perfect State when it came out. Reading your annotations and the deleted scene has jogged my memory. Honestly, I never made the connection that Sophie was Melhi for all intents and purposes. I believed Melhi's facade and thought he was simply a crazed do-no-gooder (I totally forgot that the Wode mentioned Melhi's gender).
Reading the deleted scene makes things alot clearer though. I was chatting with a friend about the deleted scene and we agreed that we're glad it was omitted. It smelled too much of the Matrix and, worse, it cheapened Kai's betrayal. That is, "Sophie" didn't really die. The person that Kai found attractive due to her outlook and personality was in fact not a creation on Melhi's part to simply hurt Kai but was Melhi being her honest self (I imagine it's much easier to just be yourself then construct a person as realistic as Sophie). Melhi being Sophie undoes the reversal of Sophie being a robot. Shadows of Self spoiler: It'd be like if at the end, after the Lessie/Paalm reveal, we find out it's really a different Kandra after all.
Regardless, the deleted scene interests me and leaves me wanting a sequel.
Edit: More thoughts. I appreciate understanding Melhi's motivation for how and why she does what she does. I don't think I picked up on that. Again, I took Melhi at face-value. I would say that Melhi is pretty selfish though. She feels she knows best for everyone else. That it's better for others to feel the same way about being a brain in a jar as she does. This is obviously an opinion though as any revolutionary can be viewed as a traitor.
I think your analysis is spot on, both about what the scene does to the story, and Melhi's character. I would call her selfish, but in an approaching self-aware way.
Either way, I'm glad to have this out there, but--though I go back and forth on it--I'm mostly glad that I left it out of the official release of the story.
If you need to bring food into Shadesmar, why don't you need to bring air?
Y'know, we actually talked and thought about this. There are certain things I just decided for narrative reasons... I wanted Shadesmar to be travelable and I wanted it to be a real place, and so I just made air, I came up with kind of my own hacks. There are times I do this for narrative reasons.
Let me give you an easier example. In the Mistborn books, and I've told people this before, I was working on speed bubbles. Slowing down time, speeding up time in a small little bubble around you, right? I went to Peter and I'm like, "This is what I'm going to do, what are the problems with this?" And he's like, "Well, redshift." Which means that basically you would be irradiating everyone with the light coming from inside the speed bubble. I'm like, "alright, we're just going to say that doesn't happen." This is where the line between for me science fiction and fantasy exists. When I'm building my story, I do try to have one foot in science with things like this. But I tend to work backward... A lot of science fiction starts with what we have now and extrapolates forward to [an] interesting, plausible premise. For my fantasy works, I start with some cool idea. And then I work backward in plausibility, trying to justify it. And we kind of meet in the center, but at the end of the day I am breaking the laws of thermodynamics, right? Just straight-up breaking laws-- I mean, we have our whole Realmatic Theory and stuff like that, but at the end of the day, I am trying to tell stories where certain extreme situations exist. Like, I bent over backwards to make the science of Roshar work with the greatshells, but at the end of the day, we still have to have a magical solution, right. To get beasties as big as we want to do, it doesn't matter how high your oxygen content is, if you've got .7 gravity or not, all these concessions we've made: the square-cube law says those things crush themselves. You just can't have things this big. And so we built in a magical solution. The spren creating this symbiotic bond is making it so these things don't crush themselves.
And when I was looking at Shadesmar, there are a couple things-- what I want for the narrative is this place. I am going to work backward and try to make as many concessions and nods toward science as I can. But the air one, I just said "You know what? There's just gonna be air in Shadesmar. I am just gonna make it so that you can." I want you to be able to walk between the planets on Shadesmar, I don't want people to have to worry about bringing a Windrunner with them and plants or whatever to get oxygen. I'm just gonna make that the case. Your in-world answers, I'm like "Well, air kind of permeates and has escaped through and things," but really do we have an oxygen cycle there? We've got plants, but are they really--
The answer is, there is air in Shadesmar because I want there to be air in Shadesmar.
Talking about physics and cosmere... Is the gravity on each planet the same as on Earth? It shouldn't.
And if it isn't? How does the changes affect things like Coinshoting or Surges out of Scadrial/Roshar?
They are not all the same. And you'll have to wait and see on how that affects things. :)
Were the aliens in Sixth of the Dusk from [Scadrial]?
RAFO. :)
All I've said is that they're from a planet you've seen/heard of before.
In this world, assuming that [Roshar] is as old as it appears to be, wouldn't it be that the creatures that have gemhearts in them, as they die their body would rot away but leaving the gemstone? So wouldn't fossil beds exist with layers of gemstones in them from the passing of the ages?
Yeah, that's why-- yes.
That's how they mine them?
They do mine them. What you've got to remember is, in my opinion these things are going to collect in certain ways in certain places.
Densities and stuff.
Yeah. But yeah. Because there's no tectonic activity on Roshar, so.
Just the buildup of crem over time slowly covers things.
Mmhmm.
Roshar is themed around the number ten. Scadrial and the cosmere as a whole is themed around the number sixteen. Are there any other planets themed around certain numbers? And if so, where and what are they? Or Read and Find Out?
Read and Find Out for that, but yes, this is a thing that I wanted to do at the beginning of the Cosmere and really leaned into in a couple of them. Honestly, with Mistborn, sixteen became the thing, but I was planning to lean into four more than sixteen for that series. But then sixteen became so important to the whole cosmere, and I wasn't sure... let's just say, four is where I was gonna go with that one.
But yes, there are others. Whether I'll actually really lean into them or not remains to be seen. But yes, I have plans.
I know I mentioned my tattoo that I wanted to get yesterday, and I was wondering what, cause I want the planets that feature in that system to be colored and everything is black and white, and so I was wondering what color I could get for each of them.
Wow, ok, I don't know if I can answer that right here, you probably want to email that to us. I can give you an off the cuff answer. I don't know if it'll be like a canonical answer or something like that. Give them to me and I'll tell you what my instincts say.
Sel?
I would do Sel as a blue color. Probably a light blue.
Nalthis?
Nalthis i would do as like a vibrant pink, orange, or something like that.
Taldain?
Taldain I would do as yellow.
Would I do like the half and half or?
I would do half and half, yeah, or if you wanna do black and white. Black and white would work very well for them.
Scadrial?
Scadrial I would do as a rust red, like a deep red.
Threnody?
Threnody, lets see.
I was thinking like a dark blue/green mix as well.
The problem is you would want to do Roshar as either a brown or a Kholin blue. Probably a brown for the stone, so in that case you could Threnody as like a dark blue and you could do Sel as light blue. You don't have a green in there, so Sel could go green if you wanted it to.
I forgot to ask about Sixth of the Dusk.
Oh, that would be mostly water, so that's a blue one.
Like a vibrant blue?
Vibrant blue. So we've got three blues. But you can change one of those to green, and I would say Sel goes green.
Like an emerald green?
Like a grass green. Because a lot of people are concentrating on the *inaudible*.
When you kill someone to create a Hemalurgic spike, does their soul appear in the Cognitive Realm when they die or is it trapped in the spike?
Weird, kind of creepy stuff happens. You're not getting the whole soul, you're getting a piece of it. I'll leave you with that.
So, as I said, I felt that I needed to wait to make Elend a viewpoint character. There are several reasons for this. The primary one is that this book is really about Vin. Kelsier has some time, but really everything in this book is focused around its effect on Vin.
Elend couldn't come in as a viewpoint character earlier because I think he would have been distracting. I like him a lot as a character. However, by leaving his viewpoints out, I allow readers to wonder whether or not he's playing Vin. My writing groups responded quite well to Elend, having constant discussions about whether or not his motivations were pure. They could do this because they didn't know his mind, and I think that by letting them do this, they could grow more attached to Vin. After all, whether or not Elend's viewpoints were pure only mattered in relation to her.
But, finally, I decided to ease that tension and let the readers know that he really was the person they thought. This should come as a relief, which relief will quickly be destroyed by the worry I create in this chapter. (In short, I couldn't bring Elend in as a viewpoint until doing so twisted the plot more, rather than simply untwisting it.)
Most of your books have an Ars Arcanum at the end, but Tress didn't. Was this a deliberate choice to leave the magic/aethers more open-ended for the future? Or to fit with the fairy tale style?
I kind of want Tress to be a little bit of an in-world artifact. This is Hoid telling this story, and it's supposed to feel like the story that he told to some people that got recorded and written down and published for you. And Khriss (who writes the Ars Arcanums) is not involved in that. And it didn't feel appropriate for any of the Secret Projects to do that. So we replaced that with, kind of, my author's discussion of where the book came from, and things like that.
So you can kind of imagine: in most of the books, the Ars Arcanum is an in-world artifact stapled to the end of the novel, which is not. This is reversed: the novel's an in-world artifact, and you have stapled to the end something that's not in-world.
When he [Isaac] and I were talking, and he told me that it [the planet name] was Lumar, I was like, "Oh, that's like 'lunar,' just with an 'm.'" Is that something that crossed your mind? Was that intentional? Were you okay with that?
Yes, that's part of why I liked it. But he has some very good rationale for the name, and I'll maybe let him tell that story at some point. But he kind of gave me the explanation.
He looks out for you guys, because I don't always name the worlds when I write stories like this, because I'm like, "They just call it the world. They don't name their world." Our world is named Earth because earth is dirt, right? Isaac always pushes me and says "all right, let's name this world. Let's name this one." I come up with them sometimes; sometimes, he comes up with them.
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.
On the map here, are the other cosmere worlds on the map and just unlabeled, or is there a bigger map?
There are stars on there that are unlabeled that have inhabited planets around them.
The linguistics there, with the... for the Aonic... so, I had a couple of inspirations there. By the time I was writing this book, I was looking to do a little bit more interesting linguistics, I was looking to explore linguistics, and I like that one of the ideas I had is... I'm a member of the Church of Jesus Christ of Letter-day Saints - Mormon - and I served a two year mission in Korea. While I was in Korea, I fell in love with the relationship between the Korean language and the Chinese language.
If you're not familiar with how that is, in a lot of Asia, Chinese was the writing system for years. For centuries, people wrote in Chinese, even if they didn't speak Chinese, because Chinese is a logographic language, it's not phonetic. When you write the character, the <Hànzì>, you can pronounce it in any language. It can be written... read in any language - we can read them in English, you can read them in Hebrew. They just mean a concept, it's like hieroglyphics, right?
But what this means is, it's really hard to learn to write, because you just have to memorize every symbol and they're very complex, very intricate. So, around... I think it's 1400, someone will have to look that up to make sure, but... the king Sejong of the Korean people, who is remembered as their favorite king, he came in and said "My people are illiterate because Chinese is just too hard to learn. We aren't Chinese, we don't speak Chinese, we're trying to use their writing system for our language. Let's develop an alphabet."
They got a bunch of scholars together and they built an alphabet by which you can write Chinese in Korean, in an alphabet that's a Korean alphabet. It's really fascinating linguistically, because they create Chinese characters that are phonetic to take the place of Chinese characters in their language and then surround them with grammar only in Korean. So, you have like "Chinese character, Chinese character, Korean grammar... Chinese character, Chinese character, Korean grammar..." and you could replace those characters with Korean ones if you want, or you could just leave the Chinese - really cool.
I wanted to develop a language that had these symbols that would also have... that were from an old language... that would then have grammar around them in another language. It was really interesting to me and that's where the Aons came from, this kind of language that predates their culture, predates their linguistics in Arelon. And that they have developed alongside and that they use in their writing system... and if you were to read Aonic, you would see these big Aons and then little Aonic text between them that is bridging all these ideas together with actual linguistics.
So, the Aons I wanted to stand out, I wanted to... when you read them in English to be able to say... and I experimented with making them all caps and it just looked really weird, but that that would be the way that... then you would have to have "RAO" and "den", "RAO" would always be in caps and "den" and readers had real troubles with that. It just read... it looks like you're screaming, right? So, people would read the name *loud* RAO- *speaking normally again* den, *laughter from audience* which is not what I wanted to say.
So I went back, but I still wanted these... So, I used the two long vowels sounds. Whenever you hit a name, they're all gonna have two long vowel sounds in them that are stressed and then an unstressed Aonic portion pushed onto it. So it's /ˈɹeɪ.ˈʊ.dɛn/ [Raoden], where you've got a-o, and you've got /iːniː/ [Ene], /sɑː.ˈɹiː.ˌniː/ [Sarene], and things like that. And even Elantris... I say /e.ˈlɑːn.tɹɪs/ [Elantris], they would say /ˈiː.leɪn.tɹɪs/ [Elantris], and things like that.
I built this just, like, have... I love it, when in fantasy, the form and the function meld together, so that what you're putting on the page actually enhances in all ways the culture and the magic together, but it did make for a difficult reading experience. My first review I ever got for Elantris [...] My first review that ever came in was "This book is great, but the names are terrible. Brandon Sanderson can't name anything. Keep him away from naming things, because the first book he published might be the most linguistically challenging, let's just say."
Hoid, he already has his Cryptic by Era 2, if I'm correct on the timeline. So have we seen him using his new fancy Lightweaving in action? Has he spoken his fifth Truth?
I will RAFO that for now. I'll RAFO both of those. Those are two separate things, but I will RAFO them. You have seen Hoid Lightweaving, but whether you have seen him use his fancy new Lightweaving... we'll leave that off for now. Let's just say that he knows that certain uses of Investiture are easier to detect than others, and if you don't want to be seen, there are certain things you don't do.
You have claimed that the Shardworlds had their names prior to the settlement of people and Shards. However, Ruin and Preservation created Scadrial (presumably post-Shattering). Where, then, did that planet get its name, and how did the rest of the cosmere learn of it?
While many of them were named, not all of them were. And the presence of a Shard warps Shadesmar much as large objects warp the physical realm (gravitation.) So if you know how to look, it's not hard to find them.
From what I understand, Ruin and Preservation create the world together, and they created humanity as copies of the original humankind. So how did they give Allomancy to Scadrial?
Yes. So the magic systems are kind of built into the setting and the world. And there are certain natural pathways that exist, in the same way there are certain natural pathways for them to create life. Which is my explanation for why life is so similar on all the different planets, is that they're following natural pathways, and these magics are kind of the same way. For instance, Lightweaving predates the Shattering of Adonalsium. A lot of these other things are suggestive of magics that existed before that were built around Adonalsium. They weren't 100% created by the Shards, but they also do have the Shards' influence on them.
In Warbreaker, Hoid's about to tell a story and he starts pulling out sand, some black sand. Is this from the planet that White Sand is from?
Good question, and that's a RAFO.
As for non-sequel, original projects, here’s what might be coming in the future, as they stand now.
Zane Awakes When Assassins Try to Kill him, then he Bids his father Farewell
The Zane scene is half old, half new. I love that his first reaction to nearly being killed by Straff's soldiers is to think that his father trusts Zane more than he expected. Who else but Zane would see getting attacked as a sign of trust?
Leaving Straff alive was a controversial move for Zane in many readers' minds. Not in mine. He never wanted to kill Straff, even though God tells him to. He really does love his father. If you couldn't sense that in the undercurrent of the story, I'm sorry–but it's the actual truth. Zane loves Straff just like Vin loved Reen, even though Reen beat her.
The scene with the spike in Zane's chest is new. I decided I needed to show this in the book, rather than talk about it in book three. The implications of it will take me another five hundred pages of text to explain. So just remember that you saw it.
So this question I think was quite difficult for Brandon. I hope I didn't cause any kind of offense when I asked it, but I think it's a question that... It's a good question, because it shows a lot about Brandon, not only as a writer, and as the kind and respectful guy we know he is, but also it shows the feelings and kind of commitment he has to you fans as well, which I think was really great. I'll start by reading a quote which I'll read to you now. "I think the concept of anyone else working on the Wheel of Time series was very painful for Robert Jordan." Just to put it in context: he did go on to say that he was eventually happy that someone was continuing his series, so there's no issue with that. The question I wanted to ask Brandon was, for any reason if he couldn't write tomorrow, how would he feel if someone else was to continue his Stormlight series? Is it something he would allow, is it something he would be happy someone else is doing? And what are his thoughts?
Yes. I certainly would. If I were far enough along in it. If happened tomorrow, it were only one book in. At that point, I'd say, "You know what? Scrap the project. Don't make people... You know, don't..." I don't have enough notoriety for it to happen. But let's say I got seven books in and there were three books left. At that point I would say, "Definitely, it needs to be finished." I do keep very good notes. And so, basically, I would trust my editor to find somebody, and I would want them to work very closely with my assistant Peter who has known me for many years and is very... He's the one that knows the most about my books and my worlds, aside from myself. And there are lots of very talented authors. There are plenty of authors who are even more talented, you know...more talented than I am, certainly. Plenty of authors. And so, finding the right one, I would leave that up to editors and people like that. I mean, most people that I would want, that I would pick, are too popular in their own right to want to go write this dopey guy's books. I think Brent Weeks and I write very similarly, and I think he would be a fantastic choice, but there are plenty of authors out there that I think could do the job if I left the right notes.
How would you say Skyward compares to, say, Mistborn in terms of completion? By the end of The Final Empire you give us enough answers to leave us satisfied with just the first book, but the trilogy as a whole works without feeling like the story is stitched together - will the Skyward series have the same feel, or will the ending of book one immediately call for the next book?
The ending of Mistborn is one of the standards (in terms of how stand-alone the book feels, yet with promises of where we're going) that I try to achieve. I'd say that Skyward doesn't quite feel as stand-alone by the end as Mistborn or Steelheart, but more so than TWoK did.
What do Kelsier and Iyatil think of Mraize kidnapping Lift?
Iyatil? On board with it. Kelsier? Eh, does he even know? He's on another planet.
Will we learn which Shard is associated with Tress's world, if any, and/or the name of her world at some point in the novel?
You will not hear the name of her world somewhere in the novel. (You heard it on this stream.) It's possible, actually, that I'll add it in now that we've got a name for it. It's possible, in that case.
Which Shard is associated? Well, I'll leave that to you to theorize, so that one is a RAFO, I'm afraid.
How did you get the temperature differential between the two halves of the planet such that life could survive on both sides and travel between them?
Right, yeah. We've got a couple things going on here that are helping with it. The thing about Darkside is-- And I've had to run this through my physicists, and they're all kind of "Ehhh", so we're still working on the physics-- But the idea is there is a light source over there, but it works like a black light. And so, there's warmth, and there's radiation, and that's why people over there are dark-skinned. They've actually adapted to this radiation, there's a lot of UV and things like that. But there is-- It works like a black light. So for a Daysider going over, it's all-- it feels dark and dim, but it's more twilight-ish than it is completely dark, if that makes sense. And with that and with... jet-streams and stuff we were able to kind of justify it mostly. I mean, it's still going to be colder on the other side and things. But I didn't want it to be like snowing and things like that, all the time over there. And so we kind of had to do some jumping through hoops astrologically to make it work.
Playing with Clichés
Well, that turned into a strangely unexpected rant. I'll leave it because it might be interesting to you all, but I did want to continue with my original idea. I didn't bring Reen back (or Kelsier back) because I feel opposed to this kind of plotting unless it is well foreshadowed in advance and built into the magic system. I did, however, want to make the reader think that I'd brought them back, as for some reason it gives me pleasure to bait readers into thinking I'm following the clichés, then ducking away from those clichés. (In a way, that's what this entire series is about.)
As a nod to the intelligence of my readers, however, I didn't let this one last for long. I figured that many would have figured out that the image of Reen was false, particularly after the epigraph strongly hints that Vin has been spiked. In addition, I wanted to use this scene to point out the difference between Vin and Spook. He's an idealist and is rather fresh and inexperienced, despite what the crew has been through. Vin's a realist and a skeptic, and is far more experienced. It makes simple sense to me that she would almost immediately see through Ruin's tricks.
How did you choose Aztec culture as opposed to Mayan?
Because I like, I think it’s interesting. I’m really fascinated by the way that, in North America, Aztec culture was one of the closest things we had to an empire. Granted, the Mayans were similar too. This isn’t a good thing, but they were starting to be a colonial power in North America, they were just 100 years behind because, different people argue why. The argument of, they didn’t have good [not sure what he says here] animals like they had in Europe. Europe had access to horses and cows, and, particularly in North America, they didn’t have access to these beasts of burden. There’s also the argument that, through most of South America, the terrain was not really good for pulling carts and things like this. So no animals and not really good for the wheel makes communication between cultures difficult. Communications between cultures is what inspires technological progress most of the time. So suddenly, you have this, where they’re really advanced in some areas, like their mathematics and whatnot, but they don’t have the wheel. And that is so interesting, and the Aztec is really interesting. The idea that they came [...] they found Tenochitlan after leaving Aztlan and come to this place and they’re these people, and their god is the hummingbird and all this stuff and it’s just really cool mythology and culture, but all anyone knows about the Aztecs is, “Human sacrifice!”, right? That’s the thing everyone focuses on, when you’ve got this really deep and cool and rich culture as well. They didn’t even really sacrifice, according to most people, that many people, no more than in European wars, they would execute after you… but it’s got this really cool mythology around it. Anyway, it’s just a really cool culture, and being from North America it’s something I wanted to dig into and deal with. Plus you’ve got, this is kind of a minefield of stuff, but you’ve got this weird colonial thing going on that I wanted to play with. In the Rithmatist world, the Aztecs had unified into a colonial power and a lot of the North American tribes had unified beneath them. Some left happily, some not happily to fight against the chalkling threat. They got pushed all the way back, fighting and fighting and fighting, and then the Europeans come in, and they’re like, “Great, this continent that there’s nobody in!” and they’re like, “Hey no, that’s ours!”. So you’ve got this really, at least to me, interesting interaction between, cause there’s all these myths that perpetuated in the 1800’s that there weren’t that many people in North America when we came in. It was just basically empty. That was the myth they were telling themselves to justify the wholesale conquering and slaughter of the people. A lot of times I’m like, so what if they got there and these people had been killed in a big war? You’ve got this colonialism and this cool power to the south who’s like “No, you’re stealing our land” but they’re like “No, you guys weren’t here” and they’re like “No, we were fighting there”. It’s a really interesting thing to deal with, and it’s exciting to me, but boy is it a minefield. Let’s hope that I can do the second book without being too offensive to people. But that stuff is fascinating to me.
Do you think that the sensibility in terms of writing about Native American cultures has to do a lot with how times have changed, since you’ve written Rithmatist?
Oh yeah, definitely. Since I’ve written Rithmatist, my sensitivity to this has skyrocketed, I think everybody’s has. That’s a big part of when I went back to the book, and I thought in the sequel I was dealing with it sensitively and I’m like “Oh, no. I don’t think I’m approaching that sensitively at all”. That was part of the reason I had to drop it and revise it. Also, I just didn’t think it was doing cool enough things and whatnot. I’m glad I didn’t write it in 2008 when I’d been like“Aztecs are cool, let’s write a book that has Aztecs in it!”, instead of saying, “Let’s do more than Aztecs are cool, let’s make sure that we have actually done our research”, instead of just relying on it. There are some things you can rely on, like Kaladin in the Stormlight books. I know enough about field medicine and what it is like to be a surgeon in the pre-modern era that I could write a cool book where a guy was himself a surgeon in a pre-modern era, and then I just gave it to a field medic, someone who had actually been in battle, and said, “What did I get wrong?”. He’s like, “You got this, this, this wrong, fix those and it’s good”. I can do that. I can bluff my way through making Kaladin work and then find an expert to fix it. That’s what I would’ve done in 2008 if I’d written Rithmatist. I have a feeling it would’ve been so far off that I would’ve given it to them and they would’ve been like, “You can’t fix this. This is fundamental”. That’s a writing advice. There are a lot of things you can bluff your way through, if you get yourself like 50% of the way there and then find an expert to fix the really bad parts for you. But you have to be able to get far enough along that it’s fixable.
Is the Allow of Law actually a part of the next trilogy?
It is not. It is a book I wrote because I didn't want to be leaving Mistborn for too long untouched.
Is there a reason that the last few unknown Shards were kept for the last? Or have they just not come up until now?
More that they haven't come up. If I had started a book on those planets, then I would have canonized them earlier.
