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Do you ever plan to continue "I Hate Dragons"? I have a theory that Skip does not have a separate knack to make him smell delicious to dragons, but rather that he is high in levels of human magical potential, which the dragons need in their diet.
Perhaps. I've got a few more chapters than I've posted. Including some viewpoints from the most powerful magical sword ever created. Most powerful...in that he has the most powers. Thousands of them. All useless.
The Lenses Of Rashid
I hope the secret with the Forgotten Language wasn’t too obvious. I realize it’s not the most clever twist in the book, since the Forgotten Language was simply hanging out in the narrative, not doing anything useful. Careful readers might have realized that it had to do something in the book, otherwise I wouldn’t have brought it up so often. It’s not a big jump to figure out that the Lenses of Rashid will let you translate things.
However, here’s one thing I bet you didn’t know. The word Rashid refers to an actual place. It’s a harbor city in Egypt, made famous for a certain rock discovered there. In English, we actually pronounce Rashid differently–we say “Rosetta.” So, yes, the Sands of Rashid–and therefore the Lenses of Rashid–are named after the Rosetta Stone, which was the famous stone discovered that helped people finally translate Egyptian Hieroglyphics.
Have you ever written a character name that you have no idea how to pronounce? *laughter*
Have I ever written a character name that I have no idea how to pronounce. Oh boy, I got to have, right? Like Rock's real name uh, Numuhukumakiakia'aialunamor, maybe? But most of the Hornearter things I just can't, I'm like what? But even some other ones… The thing is that sometimes I don't pronounce them the right way. Like I say "Kel-see-er" in-world they say "Kel-see-ay" because it is French, the original core I was using so you get things like Vin Demoux and things like this which are French terms or French names or French words, and Kelsier, I say his name "Kel-see-er" but I'm an American. 'Murica. I say it like an American would but you are free to pronounce the names in the book however you want to.
In a recent (May 2009) interview you stated the following:
I found this on a blog posted July 2008. Does it have any relationship to reality?
Q: What do you have planned after you finish Wheel of Time? A: My next series will be The Way of Kings, which is the start of a big epic for me. I've plotted it as ten books. Fantasy writers, we get into this business because we love the big epics. We grow up reading Brooks and Jordan, and we get to the point where we say, "I want to do this myself."
This should tie you up for a good ten years after you finish The Wheel of Time. Does it mean that you are not going to write anymore one- or three-volume epic fantasy novels?
Can you give us some hints as to what The Way of Kings will be about?
I've told Tor that I want to release Kings on a schedule of two books, followed by one book in another setting, then two more Kings. The series of Kings has been named The Stormlight Archive. (The Way of Kings is the name of the first volume.)
So I should be doing plenty of shorter series in between. We'll see how busy this all keeps me. I think I'd go crazy if I weren't allowed to do new worlds every now and again.
But, then, Kings turned out very, very well. (The first book is complete as of yesterday.) What is it about? Well...I'm struggling to find words to explain it. I could easily give a one or two line pitch on my previous books, but the scope of what I'm trying with this novel is such that it defies my attempts to pin it down.
It happens in a world where hurricane-like storms crash over the land every few days. All of plant life and animal life has had to evolve to deal with this. Plants, for instance, have shells they can withdraw into before a storm. Even trees pull in their leaves and branches. There is no soil, just endless fields of rock.
According to the mythology of the world, mankind used to live in The Tranquiline Halls. Heaven. Well, a group of evil spirits known as the Voidbringers assaulted and captured heaven, casting out God and men. Men took root on Roshar, the world of storms, but the Voidbringers chased them there, trying to push them off of Roshar and into Damnation.
The voidbringers came against man a hundred by a hundred times, trying to destroy them or push them away. To help them cope, the Almighty gave men powerful suits of armor and mystical weapons, known as Shardblades. Led by ten angelic Heralds and ten orders of knights known as Radiants, men resisted the Voidbringers ten thousand times, finally winning and finding peace.
Or so the legends say. Today, the only remnants of those supposed battles are the Shardblades, the possession of which makes a man nearly invincible on the battlefield. The entire world, essentially, is at war with itself—and has been for centuries since the Radiants turned against mankind. Kings strive to win more Shardblades, each secretly wishing to be the one who will finally unite all of mankind under a single throne.
That's the backstory. Probably too much of it. (Sorry.) The book follows a young spearman forced into the army of a Shardbearer, led to war against an enemy he doesn't understand and doesn't really want to fight. It will deal with the truth of what happened deep in mankind's past. Why did the Radiants turn against mankind, and what happened to the magic they used to wield?
I've been working on this book for ten years now. Rather than making it easier to describe and explain, that has made it more daunting. I'm sure I'll get better at it as I revise and as people ask me more often. ;)
I was at the Houston signing, and Brandon referred me to you on a few technical questions that I was asking him, since he he was quite "brain dead."
First was what Surges the Bondsmiths have. Based on the ordering in the Ars Arcanum in WoR and OB, they should have Tension. But the application of the shared Surge we saw for both Stonewards and Bondsmiths in OB looks to line up more with Brandon's previous description of Cohesion from the Words of Radiance tour. (https://wob.coppermind.net/events/223/#e6061, although he did identify it as a Willshaper Surge there.) Brandon believed it was an error in the Ars Arcanum, and that Bondsmiths do have Cohesion, but he told me to confirm that with you.
What power did you see in the book that Bondsmiths and Stonewards share?
In Chapter 38:
The Shardbearer pressed his hand against the incline leading up to the Voidbringer, and again the stone seemed to writhe. Steps formed in the rock, as if it were made of wax that could flow and be shaped.
...
"And that Shardbearer I saw? A Herald?"
No. Merely a Stoneward. The Surge that changed the stone is the other you may learn, though it may serve you differently.
Which seems to align with how Brandon has previously described Cohesion in the past, as opposed to Tension.
I assume this Surge is what Dalinar used to repair the temple of Talenel in Chapter 59, but that's not actually essential to the point.
I think this has to be an error in the text.
Sorry, which do you think is the error? The order of Surges in the Ars Arcanum? Or the Stormfather's statement to Dalinar?
The Stormfather's statement.
I have verified with Brandon that what the Stormfather said here is wrong and will be corrected in the future.
What is a lait?
Used in Stormlight Archive "was in a lait"?
It's not an Earth loan-word. Like crem, it's transliterated, not translated. It roughly means, "A place where the storms are blocked." Generally, it means some kind of depression or location in the shadow of a larger rock formation.
So I have a couple of questions....
I loved the book, it was all great UNTIL Vin and especially ELEND died. I can see why you did it, but I was crying so hard when Vin confirmed Elend was dead. I actually had an urge to burn the books right then and there and pretend it had never happened. Either way, I continued reading and then found some sliver of hope when Sazed said he hadn't figured out how to restore the souls YET, he said he would get better at it.
1)Does that mean that he might someday, maybe, hopefully (pretty please) bring them back to life? I suspect that you might not answer, but can I at least hope? Cause if anyone deserved to live a full NORMAL life it was Vin and Elend. Besides, it would ROCK if Elend and Kelsier ever got to meet each other......
Aw man.....I'm still crying over Elend....Is it wrong I get so attatched to characters? Its just that Elend and Vin got so little time together. It's so sad. Which reminds me: You mentioned, when someone asked about Sazed meeting Twindyl again, that he hadn't because he hadn't reached that space where souls were and the ones that were trapped in the in between were the ones that had a connection with either the physical or the concious world. Those weren't the exact words but it was something like that that IMPLIED that Vin, Elend and Kelsier were somehow still connected with the earth because unlike Twindyl the hadn't progressed past that in between place.
2) Am I right and maybe going somewhere, or am I talking total nonsense and simply trying to cope with the loss of Elend?
One of the reasons for that line at the end is to give you, the reader, the power and authority to bring to the characters the ending you wish. I may do more in this series, but until then, please take the future of the characters wherever you want in your own mind. (Also, you mention that they had such little time together—which is true, but also remember that there was a year between books one and two, then another year between books two and three. They spent most of this time together.)
The door is open for a return of Elend and Vin. Will I write it? It isn't likely to be soon, if I ever even do. Does that mean it won't happen? No. Not at all. If I write more Mistborn books, they will be hundreds of years in the future. During that time, Sazed could have learned to get souls into bodies, given Vin and Elend a life together somewhere away from the others, where they wouldn't have to struggle quite so much like they did through their lives, then ushered their souls on to the beyond. Or they could hang around with him, working with him as he takes his next steps to shepherd humankind on Scadrial. Or neither of the above. Imagine it how you wish, for I'm not going to set this one in stone for quite some time, if ever.
Is there a book out that there that you're just dying to illustrate? Something that caught your imagination and you would die of excitement if offered the chance to bring your drawings to print?
Ohhh... gosh, if I wasn't drawing it already, I'd probably be all over Stormlight, but that's a crap answer. Let's see...
I reserve the right to come back to this later, but right now I've been enjoying the hell out of the Malazan series, and I wish I had solid illustrations of the various races... still, I'm only up to book 4.
I just started Jim Butcher's super-steampunky The Aeronaut's Windlass, and I'm kinda wishing for a guide to ship types and some of the House heraldry. I really loved what Keith Thompson did for similar content in Scott Westerfeld's Leviathan novels, though that was much more traditional illustration rather than visual development.
Not every novel really needs an illustrator... for instance, I don't think it's needed for Glen Cook's novels, even though I love the Black Company, The Instrumentalities of the Night and the Garrett P.I. series (I do wish the cover artists would stop illustrating Garrett as if he were Sam Spade, it's worse than putting a hat on Harry Dresden).
I'll think about this some more.
POSTMODERNISM IN FANTASY
The Way of Kings is out. I’ve been thinking a lot about the novel, what it has meant to me over the years, and why I decided to write it as I did. I’ve had a lot of trouble deciding how to pitch this novel to people. It’s a trouble I’ve never had before. I’m going to explain why this one doesn’t work as easily. But I’m going to start with a story.
There’s a particular music video I saw quite often when working the graveyard shift at the local hotel. I worked that job primarily because it allowed me to write at work (I wrote some eight or so novels while sitting at that front desk, including both Elantris and the original draft of The Way of Kings). However, part of my job there was the do the night audit of the cash drawer and occupancy, that sort of thing. As I worked, VH1/MTV would often become my radio for an hour or so, playing on the little television hidden behind the front desk.
The video was by Jewel, and was for the song “Intuition.” We’ll pretend, for the sake of defending my masculinity, that I paid special attention for the literary nature of the video, and not because I have a fondness for Jewel’s music. And there was something very curious about this video. In it, Jewel transitions back and forth between washed-out “normal world” shots of her walking on a street or interacting with people, and color-saturated “music video”-style shots of her engaging in product promotion while wearing revealing clothing.
The tone of the video is a little heavy-handed in its message. Among other things, it is meant to parody rock star/music video culture. It shows Jewel in oversexualized situations, having sold herself out in an over-the-top way. It points a critical finger at sexual exploitation of the female form in advertising, and juxtaposes Jewel in a normal, everyday walk with a surreal, Hollywood version of herself promoting various products.
Now, what is absolutely fascinating to me about this video is how perfectly it launches into an discussion of the literary concept of deconstructionism. You see, Jewel is able to come off looking self-aware—even down-to-earth—in this video, because of the focus she puts on how ridiculous and silly modern advertising is. The entire video is a condemnation of selling out, and a condemnation of using sexual exploitation in advertising.
And yet, while making this condemnation, Jewel gets to reap the benefits of the very things she is denouncing. In the video, her “Hollywood self” wears a tight corset, gets soaked in water, and prances in a shimmering, low-cut gown while wind blows her hair in an alluring fashion. She points a critical finger at these things through hyperbole, and therefore gains the moral high ground—but the video depends on these very images to be successful. They’re going to draw every eye in the room, gaining her publicity in the same way the video implies is problematic.
Deconstructionism is a cornerstone of postmodern literary criticism. Now, as I’m always careful to note, I’m not an expert in these concepts. A great deal of what I present here is an oversimplification, both of Jewel’s video and of postmodernism itself. But for the purposes of this essay, we don’t have time for pages of literary theory. The title itself is already pretentious enough. So, I’ll present to you the best explanation of deconstructionism I was given when working on my master’s degree: “It’s when you point out that a story is relyin’ on the same thing it’s denyin’.”
That will work for now.
So, I was wondering, as a dyslexic, when you were designing Thaylen names, was that intentionally a massive practical joke on your part?
No. Though I will admit, when I was designing Thaylen names, I had a little bit of Welsh going on, and things like that. Now, one of my good friends, actually, the person this book is dedicated to, Alan Layton, is dyslexic. He was one of the people I brainstormed Stormlight with, but he listens to them all on audio. It's more a practical joke on the people who read the audiobooks, because I don't know how they read those names sometimes. But they also have to do Rock's name, right? Numuhukumakiaki'aialunamor. I make them do stuff like that.
When Lift says to Dalinar that he smells like her, does she mean Cultivation or Nightwatcher?
[She] meant Nightwatcher, but Nightwatcher is kind of Cultivation, so, yeah.
Shai refers to an Unknown God, is this at all related to the rocks that fell from the sky that Shai's ancestors carved?
For her people, there is a relationship. But watch for mentions of the God Beyond in the books. There is more here.
Chapter Fifty-Two
In a later draft, I added a bit of padding to this chapter–in particular, I included more explanations by Raoden regarding how he'd been trying to meet with Sarene. I was worried that I was pushing the bounds of plausibility too much with Raoden's false persona. One of the main reasons that he left Elantris was to see Sarene again, and it just didn't make sense that he would try to keep fooling her. Moshe noted this as well.
So, we have Sarene refusing Kaloo's letters, and not wanting to let him get her alone. Perhaps this is a little implausible as well–I can't see Sarene avoiding anything that smells of politics. Fortunately, Sarene is also far more impetuous than other "political" character's I've used. I can see her sending away Kaloo's letter because of a mood, or simply because she thought he was trying to taunt her.
Either way, I had to find a reason to maintain the charade through this chapter, otherwise I wouldn't have been able to pull off Raoden's dramatic appearance in the next chapter.
About the Returned, they don’t quite fit the other Splinters, their Breath rather, because it’s the divine Breath that’s a Splinter, right?
Ehhhhhhh…. Ehhhhhhh....
Okay, that was vague.
Not a 100% correlation there.
So in that case it’s not entirely fair to say that the Returned are like vessels for--
No… Well, more vessels than the people that are in [T’Telir…]
So, Endowment is in control of what’s happening, right?
The giving of Breaths.
Yes. So what you’ve got to remember-- and this is something that people keep mistaking is-- something like a spren is still part of the god, right? And it’s not that different from the fact that the rock has a part of the body in it, and that everything is kind of made—Like in Mistborn world in particular, everything is made out of their essence. And so, the Breath are similar, but it’s less that-- they’re not autonomous in most cases and it’s more like-- it’s like a hybrid of what’s happening in Mistborn where everybody’s got a bit of Preservation in them. Everyone’s got a bit of Endowment in them.
Innate Investiture.
Innate Investiture that they are born with.
I was looking to divine Breath, more specifically.
Oh divine Breath! … Divine Breath is its own special thing, and it’s more like what happened with the Honorblades, in that the god is pouring a bit of its Investiture, infusing the magic.
Mab the Cook
If it sounds to you like Mab knows a lot about Awakening and Hallandren, then you've picked up on something. Mab actually used to live in T'Telir. (She was born in Idris, but ran away during her teens.) During her twenties, she was a courtesan of some repute in the city. She had some fairly high-profile clients—so she was more than just a poor, street-corner prostitute. She fell in love with one of the men, however, and he convinced her to give him her Breath. Then he left her.
As a Drab, she had much more trouble finding work. She'd lost a bit of her sparkle, and whatever she'd used to capture the hearts of men, she'd lost that too. She ended up as a madam, running a much poorer whorehouse, using her old contacts and reputation to get clients.
As soon as she made enough, she bought another Breath and returned to Idris, where she got a job in the king's kitchens. To this day, she bears a lot of ill will toward the Hallandren upper crust, and Awakeners in particular.
Who, in your opinion, writes the best fantasy today?
Until recently, I would have said Terry Pratchett, without hesitation. People mistake his books for mere comic fantasy, but that man had as sharp a wit as any Algonquin and more heart than a Care Bear Stare. He knew how to turn a phrase like a tango turns the hips. On more that one occasion, no exaggeration, that goofy old bearded bastard actually made me cry.
To reach out and touch another human through time and space and make them actually feel something... that's good writing.
But he's moved on, and there's plenty of great authors at their height today, so let's stick to the contemporary.
For pure liquid prose, probably Rothfuss.
For interesting concepts, I'm digging Guy Gavriel Kay. China Mieville is great as well.
For action, I'm pretty into my man Brandon. Butcher does a good job with that also. Larry Corriea knows how to write a rocking fight.
Joe Abercrombie is the first author I've read who took those boring battle maps with the arrows and blocks and made them into a gripping, visceral saga of honor and commitment and betrayal and vindication.
Dan Abraham is the man who made a story about a rogue banker into one of the best epics since Ice met Fire. That right there is a Copperfield-level trick.
How did the name Bridge Four [come about]?
So, I stole Bridge Four (there's an interesting story to it)... Dragonsteel was my seventh novel, and it's Hoid's origin story, and it takes place... the series is Hoid's origin story, though that book doesn't really get into it. We have a few viewpoints from him, but it's not really about him. And the idea was, I was gonna kind of lead into this epic fantasy, and then start talking about this mysterious character who was a big part of it. And the main character I decided to lead in with that was this person who got stuck in a bridge crew. It's not Kaladin, it's a very different character, but the idea of the bridge crews. Well, eventually, I took Dalinar out of... even before I was writing Dragonsteel, I pulled him out, set him for a different book. And eventually it became clear to me that I needed to pull the bridge crews out and move them to Roshar because they just worked better. I had this great idea for these bridge crews, but the world they're in just didn't match. And the chasms and things matched very well. So I moved them out and made them a part of Kaladin's story. What I'm getting at is, I came up with the bridge crews, like, twenty years ago, and I have no idea why I picked four, other than... I have no idea. Bridge Four has been Bridge Four to me for years. In fact, if you read Dragonsteel, you can still find Rock in Bridge Four from twenty years ago, acting kind of the same. And a few of the other characters are still there, as well.
So my friend wanted me to ask, after we both read Firefight, is there anything you can tell us about Instabam?
Instabam, oh. What do you want to know about Instabam?
Powers or anything.
See facetiously in my head I had Instabam have power over instant potatoes, but I'm probably not going to do that. But that is what I had in my head when I wrote that name. Yeah, instant potatoes, "Poom". Can cook food at the snap of fingers. I don't know what their powers are. I didn't work that out.
Okay.
You can say instant potatoes if you want.
Was there any physical inspiration behind the Shattered Plains, which features so prominently in The Way of Kings? Too many visits to the Grand Canyon?
I’ve only been to the Grand Canyon once, but I do live in Utah, which has beautiful red rock formations and this wonderful, windblown stone formations scattered all across southern Utah. I’ve hiked there and spent a decent amount of time there. I would say that Roshar is partially inspired by that.
Is Hoid the one that comes out of the lake that Rock is talking about? *photo pause* Or you can't tell me?
I am going to give you a RAFO card.
Does Wit have another name apart from Wit?
Wit has many other names. Cephandrius is him.
What's his real name?
He does... have a real name, but he would argue that they're all real names.
What's one that isn't Cephandrius or Midius?
Hoid. *laughter* Topaz.
When he says he's named after a rock that's a reference to Topaz?
Yes that's referencing the topaz. And the other thing that he references with... When he says he's named after words on a page that is not breaking the fourth wall... It's not even winking at it. Nope... It's quite literal. Yes, that is quite literal.
The only other thing to say about this chapter is that it's about where the Mad Prince subplot began in the original drafts of the book.
Though this is explained other places on the site, I should probably note it here. The Mad Prince, a character who has been cut from the book, dominated about three or four chapters in the last quarter of the manuscript. Originally, Raoden wasn't an only child–he had a brother who was something of a madman. Eton–the Mad Prince–was sent away by his father to live in seclusion. He was mentioned several places in the text, foreshadowing the time when Hrathen decided to pull him back into Arelish politics to try and use him as a pawn.
In this chapter, the Mad Prince arrives in the area–though we don't know it. Hrathen finds out that Eton has arrived, and goes to meet with him off stage. The reader doesn't know what's going on yet–you only know that Hrathen has some other little scheme he's been cooking up since Sarene's fall. (Remember, in the original draft of the book, Telrii was far less of a character. Hrathen gave up on him early in the book, after the plan to sink Iadon's ships ended up being a wash.)
Meaning
Aon Ehe represents the primal force of Fire. A complex Aon with only basic symmetry, its form has often been likened to wisps of tickling fire burning out from a central coal.
While the many poets in history seem to have preferred the overall symmetry of an Aon like Aon Omi or Aon Rao, not a few preferred Aon Ehe for its distinctive look and feel. (Much like Aon Shao, this Aon breaks with traditional Aon form in appearance.) For this reason, and because of the destructive yet vital power of fire, the Poet Lenehe of the fifth century named Aon Ehe “The most inspiring of all Aons, a symbol for those with a creative heart and an unhindered mind.”
Recently, this Aon–easily recognizable, even to the uneducated–has become synonymous with ‘Danger,’ and is used as a warning. In many cases, in fact, it is printed on warnings which have nothing at all to do with fire. One might find it upon an unsteady bridge or a wood hiding dangerous wolves just as easily as one might find it referencing actual flames.
History And Use
All Aons exist independent of humankind, their symbols inherently tied to their meaning, but few have distinct origin stories explaining how the Aon was first discovered. Some modern scholars scoff at such tales, but Aon Ehe’s origin myth is well known among the common people and believed by most.
The story tells of the first princess of Arelon. This was some years after the founding of Arelon following the migration of the Aonic people from other lands. Elantris, of course, had already existed as a city when that migration occurred, and had been discovered empty. While some people assumed it haunted, Proud King Rhashm (later renamed Raoshem) determined to conquer the fears of his people and set up a kingdom centered on Elantris.
The transformation of the first Elantrians happened beginning several decades later. Princess Elashe–the first of Raoshem’s line to be chosen as an Elantrian–claimed to have seen the pattern of this Aon inscribed on a coal in her hearth the day after she underwent the transformation. Whether or not this story is true, a coal or rock written with Aon Ehe on it is considered good luck and a ward against winter spirits. (Though this kind of superstition is frowned upon by the Korathi priests.)
Other uses of Ehe are plentiful. It is one of the primal elements, and is often used in scientific writings. It is a ward and warning against danger. It is used on signs in conjunction with other Aons to mean warm food or warm beds available. Some artists and poets choose it as their symbol, both to hint at the dangerous nature of artistry and to speak of the passion of artistry.
Naming and Usage in ELANTRIS
Aon Ehe is often mispronounced as “E-hay.” Though scholars of Aonic insist that the proper term, “E-Hee” is more accurate, the former is slowly being acknowledged as an acceptable pronunciation as well. It is infrequently used in names during modern days, as the meaning ‘Danger’ is seen as unfavorable. However, historically, it was a favorite Aon for poets and artists (who often took new names for themselves when entering into their maturity as an artist, a tradition by which they removed themselves from their old body of work and indicated that they were beginning anew.)
Some famous examples of names from Aon Ehe include the poet Ehen, the artist Ehelan, and Mehen the philosopher.
AonDor
Aon Ehe is one of the most spectacular, useful, and awe inspiring of base Aons when used by an Elantrian. There are many Aons which have destructive or powerful effects, but none are as strong without modification as Aon Ehe.
Drawn simply, the Aon creates a column of flame, acting as a direct and primal conduit to the Dor itself. The diameter of the column depends on the size of the Aon drawn, and the direction the column is launched depends on the direction the Aon is facing. Often, this Aon is drawn on the floor so that a column of pure fire can be launched up into the air. The column is brief–only lasting a few seconds–but incredibly powerful.
With some enhancement modifiers, this Aon can be made to last longer. The pre-Reod AonDor scholars crafted lamps with flames that continued to burn no matter which way they were turned. They would even continue to burn beneath water. This Aon can be used in warfare, if necessary, though Aon Daa is generally a better weapon.
As a modifier, Aon Ehe can be used to create a ward that sets off other Aon chains. It provides one of the more useful tools in an AonDor practitioner’s repertoire, though the difficulty in drawing it can make it difficult to use for the less talented.
If you were going to make Horneater stew here on Earth, how would you go about it?
If I were going to make Horneater stew, on Earth, how would I go about it. It's going to be a spicy seafood stew. When I think of Horneater stew I'm actually thinking of Yukgaejang which is a Korean dish. Or Haemultang is what I mean. Haemultang is a spicy-- spicy seafood-- it's basically whatever thing from the ocean-- I don't eat things from the ocean personally-- but everything from the ocean they want to throw in there with some spices. They stir it up and give it to you and if you like fish in there and there are like crab claws and full clams in the shells. You're like "Really guys?" But Rock would just be munching those down and being happy.
Is crem made out of calcium carbonate?
No, that it was a darker material, and wouldn’t directly correlate to any rocks on Earth
Where does it come from?
That’s one of the greater mysteries. Far in the future, scientists on Roshar will start asking that same question.
A friend of mine wanted me to ask: Was the cataclysm that rocked Ashyn and forced its inhabitants into the flying cities Investiture-based, and if it was was it Shardic in nature?
The same cataclysm that the-- did you finish [Oathbringer]?
Yes.
The same cataclysm that they were fleeing, that they caused, is the one that forced people into the skies...
Maps
Just like the other two books, the maps in this volume are brought to you by the talented Isaac Stewart—video game designer, writer, and all-around great guy. Isaac is a member of my writing group, and he started work on the maps for Hero of Ages early, since we knew we'd want maps of Urteau and Fadrex to replace the map of Luthadel (which doesn't have as big a part in this book as it did in the others).
I'm curious to know what people think, opening this book and seeing these two cities instead of the familiar Luthadel. Part of me still wishes I'd been able to set the book in Luthadel.
And yet, I worried that that setting was played out. In book two, the action came to the characters—but I wasn't certain I wanted them to still be sitting there, dealing with the problems life threw at them. I wanted them to be out proactively seeking to head off the end of the world.
That required them to leave Luthadel, and while I did find opportunity for a few scenes in the city, they aren't the focus of the book.
I like how both of these maps turned out, as they both have visual elements that were challenging to describe in the text. For Urteau, the streetslots are an unusual image, and I think the map helps get across the idea of the empty canal streets. Fadrex was an even bigger problem—it was tough to get down the descriptions of the rock formations around the city that provide natural fortifications. I think that the map here gives me a leg up on description, as it adds a visual image I can work from before I even have to begin describing.
I know some readers complain about how fantasy writers feel a need for maps, but for me it's always been a vital part of the experience. The map is an initial visual image that begins to pull you away from our world and deposit you someplace else. David Farland always says that one of the goals of fantasy—and reading in general—is to take you somewhere new. Maps are the gateway into doing this, and I'm happy to include them in my books.
In the Stormlight Archive, Rock once mentions that there's a pool where he comes from. Is that somehow related to the pool in Elantris?
Look at what he says came out of that pool one time when he was there.
I have a copy of your Dragonsteel master thesis, I haven't read it though. And I was wondering, how you've grown as an author, do you like people to read that or would you rather they wait until you do the better version?
I-- I'm-- That one I don't really like people reading that much because it has an inferior version of Bridge Four that I don't want people to meet. Does that make sense? Like the Bridge Four team--
...And when you re-write it it will be better?
Well Bridge Four won't even be in that book anymore I moved them to Roshar. So you go back and you find the version of Rock that is not quite the right version and you'll find-- Teft is basically the same dude but a lot of the other ones have changed and morphed and they basically won't feel right anymore, if that makes any sense. Feel free to read it, don't feel bad reading it but that's the part that I'm not--
Is that the only part you are worried about? And the rest you are like "It's not my best writing" but--
The rest is not my best writing but whatever. But the Bridge Four stuff, I'm like I did it so much better that it's not even going back and seeing it in rough sketches, it's like if da Vinci had painted a Mona Lisa that was ugly and a different person? You don't want it cemented in their mind that that is what the piece of art is. The rest of it I don't mind so much, I mean the main character his conflict will change dramatically because I pulled that out and gave it to another character in the books. So basically the only thing remaining that is still going to be canon is Hoid and his story, the story what's going with him there is still stuff he would have done...
Chapter One - Part One
Tone
You can probably guess why I was worried about the transition from the prologue with Vasher to this chapter with Siri. The tone shift is quite dramatic. Actually, one of the things my agent complained a lot about with this book was the tone. Not just for this chapter shift, but for the entire book.
In his opinion, there were too many different tone shifts going on. We have Vasher's plot, which is dark and sometimes violent. We have the Siri plotline, which is romantic and sometimes whimsical. We have Lightsong, whose chapters are glib and smell faintly of an old comedic murder mystery. Then we have Vivenna, whose tone bounces around across all of these.
That's one of the things I like about the book. My agent complained, but I know he likes things more streamlined than I sometimes do. He loved the Mistborn books, and I do think they are excellent novels—but they are very focused. The characters are distinctive, but their plots are all centered on many of the same types of goals.
With Warbreaker, one of the main things I'm trying to do is contrast it to Mistborn. To do something different, something that harkens a little more back to Elantris, with its three very different viewpoints.
I want there to be a lot of different tones and feels to this book. It's part of the theme of the novel—that of vibrant Hallandren and its many wonders. I want it to feel like a lot is going on, and that in different parts of the city, very different stories can be told.
I've always wondered why Hoid stole the Moon Scepter from The Rose Empire. He is collecting investiture, so it must be pivotal.
Is it possible that the Moon Scepter is connected directly to Dominion and Devotion's investiture (maybe via the moon-rocks?). If you have the Moon Scepter, you can get around the pesky proximity problem of the magic system(s)?
I'll talk about this eventually, but it IS related to the proximity problem--just not in the way you're assuming.
OK guys, help me out on this.
Let's take a bubble where time is sped up inside, maybe to 10x, maybe to 100x. I'm thinking that if there is no light source inside the bubble, but all light comes from the area outside the bubble, to an observer outside the bubble all light that goes inside and gets redshifted will get blueshifted back the same amount when it exits the bubble. So the outside observer won't see a color change at all. (I'm ignoring refraction for the purposes of this post, but someone else may elucidate.)
The person inside the bubble will see a redshift of all light coming into the bubble--but will also see far fewer photons per second, so the world will go dim or even black.
At low time-speedups, the person in the bubble will see UV light shifted into the visible range, so will start effectively seeing in UV. At very fast speeds he can see X rays or even gamma rays. (I don't know from Brandon what the max speedup is.)
If the person inside the bubble turns on a flashlight, this will be shifted into the UV or X-ray range when it leaves the bubble. You can fry everyone around you with deadly radiation this way.
When you have a bubble that slows time, the opposite happens. People inside can see in infrared or radio waves. And if they go slow enough, visible light from the outside is shifted into the X-ray or gamma-ray range and the person inside gets fried by radiation. If they turn on a flashlight, people outside get cooked.
Can anyone point out flaws in this analysis? Does anyone have magical suggestions for why any of these things wouldn't happen?
For practical reasons it looks like there will need to be a lot of handwavium burned.
Chapter Six
Bridge FourI've spoken before on my creative process. I build books out of good ideas, often developed in isolation until I find the right place for them. (Allomancy and Feruchemy were originally developed separately, for separate books.) When a book doesn't work, the ideas get broken apart and bounce around in my head some more until I find another place to try them out.
Bridge Four—and the plateau runs—were originally part of Dragonsteel. Dalinar was too, so that's not all that surprising, I guess. However, Bridge Four is unique here in that when I decided to move them from Dragonsteel to The Way of Kings, I had already completed both books and felt pretty good about them. They are both important sequences in the Adonalsium Saga, and lifting Bridge Four from Dragonsteel meant taking away its most dynamic, powerful plot structure.
That decision was not easy to make. The problem is, both books were fundamentally flawed. Oh, they were both good, they just weren't great—and I felt I needed to be doing great in this point of my career. (Hopefully during every point of it.) The Way of Kings had an awesome setting and some great characters, but no focal plot sequence that really punched someone in the gut. Dragonsteel had wonderful ideas, but they never really came together.
In the end, I took the best part of the book that otherwise didn't work and put it into the book that needed a little extra oomph. The moment of decision came when Ben McSweeney, who was doing concept art on the book, sent me a concept he'd done that looked shockingly like the Shattered Plains. (Which, remember, were not even on that planet at that point.) I realized that they would fit the worldbuilding of The Way of Kings better than they ever did Dragonsteel, and that I could put greatshell monsters in them.
So, I ripped apart a book I love to make a (hopefully) better book. Rock came along to Roshar for the ride (he was an original member of Bridge Four in Dragonsteel). I added Teft, who had been left languishing for a decade or so after Mythwalker became Warbreaker and he didn't make the jump. Bridge Four seemed like a great home for him.
[Assistant Peter's note: Teft is mostly the same character as Hine from Mythwalker, but also has a character aspect from Voko in that book.]
In Way of Kings, the Death Rattles, it say that the person who said it reported seeing strange dreams during the highstorms for the past two years. What do you have to say about that, I guess?
Highstorms. You often see strange things during the highstorms.
That's not a real answer.
It totally is a real answer! That person saw some weird stuff. Weird stuff happens. Dalinar sees weird things walking along throwing rocks at people, so. Who knows.
Why can Rock see Syl?
*pause* Okay time to pause the record-- This doesn't go online, okay? *Audio paused*
Thank you sir.
Maybe you already knew that.
Do you ever get annoyed with us?
No. I thought I talked about the--
Sparkflickers?
Yeah the-- So I mentioned both of them?
So far there hasn't been a lot of the Stonewards in the books. Are they going to come forward in the next few?
...Yes. One of the reasons I built the structure of The Stormlight Archive the way that I did is because I knew it would be easy to overwhelm with the number of magical abilities, and to let myself get distracted by some of them and not do them justice. So I've been very careful, perhaps more careful than I need to be, and when I show like a Fused using a power, I focus more on the ones you know about and things like this, intentionally to keep the reader's attention on what they know as I expand.
Can they shape stone? In one of the flashbacks they kind of melt it and it becomes sand.
Basically, my original pitch to myself on Stonewards, one of their main powers--I mean, everybody has two--but this power you're talking about was the ability to grab matter and just kind of-- like what if the whole world were clay to you. Not just stone, not just rock, but if you could just pick something up and stretch it, whatever it was, that was my original pitch for that order.
So architects or combat engineers fill that order?
Yeah, stuff like that, but also, just kind of like you need to get out of a room? Well, let's mash ourselves a doorway here and step through, or just all kinds of stuff.
Can they do that to living flesh?
No. That's the general, the more Invested something is the more it resists, and Stoneward powers are highly resisted by things... Even a small amount of extra Investiture is gonna prevent them. Like if you stuck Stormlight in [an object], say a Windrunner did, a Stoneward wouldn't be able to change that.
My one question is how do you make it so writing isn't work, because if I'm writing for work I don't write as well. How do you get in the mind set?
You know for me, taking a walk before hand, listening to some awesome music, and just imagining why this scene is going to be awesome and the emotional impact of it really helps. But at the same time writing is always going to be a little bit work and there is no getting around that. I mean, it's hard sometimes and so-- I don't know. For me I've enjoyed it more as it has become work and I can devote more time to it and things like that. But... Try that.
Just get in the mood...
Listen to music and put myself in that scene, what it feels like, what it sounds like, smells like. Just put myself here and think about what is going to make it incredible and I'll get really excited about writing it. Excitement translates I think at least for me onto the page.
So in one of your State of the Sanderson posts you said that the "Wax and Wayne" series was going to come out in late 2019, but then you decided to write another trilogy that lasted two years, so--
So Wax & Wayne 4. Abandoning Apocalypse Guard has put me a little on the rocks for when I'm going to do that. Right now I'm planning Wax & Wayne 4 to be a book I use as a break from doing revisions on Stormlight 4. Stormlight 4 I have to start in January if I'm going to meet my stated goal of having them come out every three years, which I realize is a long time between books, but remember that they're four times longer than a normal book! *laughter*. You're laughing, but Oathbringer was 450,000 words, Skyward is 110,000. So Oathbringer is longer than four Skywards. I do have Skyward 2 done, and am going through the editing process right now. *applause* So Wax & Wayne 4 is very much on my radar-- I wrote the first one taking a break from Towers of Midnight, so the chances are good I'll need a break from Stormlight 4 and write it there. I don't know if it'll be out next year or the following summer. Stormlight 4 we're shooting for the fall of 2020, and I should be able to get it right around that time if I start in January, so that's the plan.
What can you tell me about where spren come from?
Spren come from where everything in the world of Roshar comes from. The are a natural part of life there. They come from the same place rocks and the wind and all of that...
In the White Sand graphic novel, quite a few of the elements of the environment (e.g. rocks, clouds) look like faces (link). I find it hard to believe this is just a quirk of the artist, so can you tell us anything about why Taldain seems positively riddled with faces?
The faces are intentional. (Though they turned out more blatant in places than I'd have liked.)
How do Kandra decide gender? Is it just intellectual? Or are there subtle physical differences?
Kandra have a specific gender that is associated with scent- you can tell if a kandra is a boy or girl depending on how they smell. There is more to it than that. They also know who they are attracted to.
Did you, in Wheel of Time, at any point, want to just change something?
You know, when I got The Wheel of Time, when I was offered it... one of the things they were looking for-- that Harriet (Harriet was Robert Jordan's widow. She was his editor first, then she married him. And we always joked that's how she made sure her editorial advice got taken. So, she discovered him, basically fell in love with him, and they got married. It's actually a really cool story. She was Tor's editorial director. She was the person who edited-- found and edited Ender's Game. Glen Cook's Black Company. She is amazing as an editor. And she discovered Robert Jordan, as well.) So, she was the one looking. When she called me, she found me when read Mistborn. I didn't know I was being considered, it's not like I sent in an application or something. She came to me, and she said, basically, after she decided she wanted me for sure, she said, "I need somebody to be the writer on this. That means complete creative control." Now, she was going to edit it, and her word was gonna be final. Which is not normally the case with an editor. But in this case, what Harriet said, she told me, "Whatever you feel needs to be done, do it, and sell me on it. And if I'm sold on it in the writing, then we keep it. And if I'm not, then we'll talk about how to revise it and fix it."
Because the notes and the outline were very free-form. Robert Jordan was not an outliner. He just had chunks and little bits of scenes here and there, and interviews with his assistants where he said "I'm thinking of doing this, or this thing that's completely the opposite, and I might just do a third thing that I can't decide on yet." Like, there was a ton of that. Going in, one of my mandates to myself was, when we did have something from Robert Jordan, we wanted to be sure to keep it. When we had something firm from him. And in that case, we kept basically all of it, except where it contradicted itself. Because his notes sometimes, he would change, he would be working on Book, like, Nine. And he writes a note for what he wants the ending to be. And then by Book Eleven, he's like, "I want this to be the ending." And those two, we don't know which one he would have settled on, so sometimes I'm just like, "I'm gonna strike this out and do a different thing." Like, he wanted to use the Choedan Kal in the ending. Both of them. But one, he destroyed. So, that note was from a previous... he'd written that before he decided to destroy it. Stuff like that.
In the end, there was only one thing I wanted to change that I didn't, and that was the spanking scene. With Cadsuane and Semirhage. Which, you know, I'm not big on the whole spanking thing, but he said write it, and I'm like, "All right, Robert Jordan, I'll write it."
What was your favorite bit that you added?
Probably Aviendha going through the glass pillars, or Perrin forging his hammer. Those were both things that I felt the story needed. Perrin, there was very little on. He didn't leave any notes for Perrin, basically, at all. And so, Perrin, throughout the whole thing, I basically had to do. But Perrin was my favorite character, so I was very excited about that. He left a ton on Egwene. She was the one he'd almost finished her whole plot through the whole thing, and he was about halfway on Rand and Mat.
I've always pictured Rock and the Unkalaki / Horneaters as Pacific Islanders. Are they based on Pacific Islanders despite their red hair?
Their linguistics and some parts of their culture are based on Pacific Islanders, though their physical characteristics are not.
Updates on Main Projects
Stormlight
It's time to take a little breather. I've begun working on the outline for book four, which is kind of a mess right now because of things I've been moving around between books as I write. My goal this year for Stormlight will be to have rock-solid outlines for books four and five done by December 2018.
My current projection is that I'll spend half of my time writing Stormlight, and half of it doing other things. (I spoke last year about just how big an undertaking a Stormlight book is–and why I can't write them back to back.) I realize that many of you would prefer to have only Stormlight, but that would drive me insane–and drive the series into the ground.
I think this is a realistic schedule. So, I'm giving myself 2018 to work on Skyward (hopefully a trilogy) and other projects. Then on January 1st, 2019, I go back to Stormlight refreshed and excited to be back in Roshar, and I write on book four until it's done. (With a 2020 or 2021 release, depending on how the writing goes.) I do hope to find time for a novella, like Edgedancer, that we can put out between books. This one is tentatively called Wandersail.
For those who don't know, The Stormlight Archive is a ten-book series composed of two five-book arcs.
Status: Writing outline for book four.
At the risk of getting too technical, is there anything besides lack of knowledge preventing a soulcaster from turning some rocks into a bunch of plutonium and exploding?
I know you've got some rules attached to time bubbles to avoid those going nuclear so I wouldn't be surprised if there was something or another.
Well, Soulcasting isn't fission or fusion. It's a spiritual transformation process, not a physical one, and so you don't have to worry about some of these issues. There IS historical precedent of accidentally setting off fission reactions in the cosmere using the magic, but that was a different process. Soulcasting is actually pretty safe. (Well, on a grand scale.)
You could end up irradiating yourself, though, which wouldn't be very fun.
If you know what you were doing, making plutonium or uranium on Roshar wouldn't be difficult. The problem is more a matter of knowledge, and room for scientific exploration. They're unlikely to make atom bombs for the same reason they haven't made gunpowder. Once they figure out that some substances are important, they can learn to make them with Soulcasting (assuming they have Radiants) but some substances just don't occur naturally--so discovering them in the first place is difficult, and would require more modern scientific process.
Okay, just to clarify here (since I'm not sure how up you are on early nuke designs)
A big enough chunk of uranium or plutonium will explode regardless of whether it's in a bomb or not. Early bomb designs just slammed two smaller chunks together so they'd be one big chunk.
For plutonium 'big enough' is about 35 pounds in one place - a chunk somewhere between the size of baseball and volleyball.
If I understand properly, people can soulcast from the cognitive realm into the physical, which implies once we get into a more modern stormlight setting soulcasters will make nuclear submarines look like small potatoes.
Slamming two chunks together so they became one big chunk seems an understatement, from what I remember. I'm under the impression that you had to use a great deal of explosive force to ram them together in order to set off a viable fission reaction. Doesn't it have to be compressed somewhat in order to react with itself?
I'll admit, it's been a long time since I've looked at this, but I remember glancing it over, and deciding that you'd need more than just soulcasting to get it to happen. Though it's not outside of reason that a soulcaster could learn to create super-dense plutonium. The problem is one of understanding, however.
Just like it's totally possible that we, with our current technology, could figure out some huge breakthrough in science allowing FTL or other incredible discoveries. But we don't have the understanding to pull it off yet.
In a modern setting, however, a lot of these complaints go out the window. Let's just say that this isn't the only reason a modern society that can instantly transmute one substance to another is potentially a very interesting place.
You're totally right that everyone currently uses an 'implosion' style compression design. It's a lot more bang for your buck, and you need less radioactive material to work with. They're also a lot safer, because just sitting around they're well below critical mass - without the power-boosting tricks they basically can't go off.
The old "nobody uses these anymore" designs were 'Gun-Type'. Very simple - shoot a uranium bullet into the center of a uranium ring (or vice versa). Inefficient as heck (the Hiroshima bomb only fissioned 1.4% of its uranium), but also super simple to put together.
Despite being simple to build, gun-types were also super unsafe relative to modern implosion devices (among other worries, dropping a gun-type device into the ocean could potentially set it off because of how neutrons react with water). Also, getting the timing perfect on the fissile 'bullet' was a problem, so practically speaking it could only be done with uranium.
After WWII, the only use the US ever had for gun-types was in bunker busters and nuclear artillery (because of course that was a good idea).
Darn, that post turned out longer than I expected it to.
Anyway, I'm looking forward to see you make something really cool out of a post-scarcity transmutropolis setting (especially since the liespren would be in charge of nuclear treaties), and also my roommate just pointed out all the laying out of nuclear bomb details is pointless if they could just make antimatter instead. D'oh.
This is useful information for me, but my gut says that Rosharans couldn't get this working with their current tech level. That said, the REAL issue (as you mentioned in your original question) is knowledge, not feasibility. They'd have to know how to make the right kind of Uranium or Plutonium--and would need to be able to get this across to a soulcaster in a way that works, then THEY would need to get this across to spren. Cross that hurdle, and I suppose it's not at all implausible to imagine Alethi during Dalinar's era with nukes. I suspect the right kind of fabrial could make a trigger device to match ring and bullet at the right time. Depends on how quickly it needs to be going, though.
Would it be harder for Jasnah to Soulcast a Knight Radiant?
Yes.
Would it be harder for her to Soulcast a Mistborn?
Yes, Investiture resists Investiture. It's harder for her to even Soulcast a person than a rock, right?
Is a Mistborn Invested?
The Mistborn, while they're burning the metal. They are not specifically Invested when they are not burning. When the Investiture becomes active, then yes. Before, no.
So Kelsier, he stayed around longer, not because he was Invested, but because he had the potential to use Investiture?
Over time using the magic will Invest you, on Scadrial. Most of the power is not coming from, on Roshar the power isn't coming from the person either [he cut himself off, so I assume this is how it works on Scadrial even though he didn't finish his thought] so I'm going to have to back up on that one and say, yes, the Mistborn are as Invested as a Knight Radiant, because in both cases the majority, bulk, of the power is coming from somewhere else, but there is the Spiritweb. Investing the wrong term, but you have all these connections in the Spiritual Realm, so yanking you away from them, or rewriting them is harder.
Would they be harder with more Stormlight or metals burning?
Yes, yes. That would increase the difficulty ratio. For instance, wearing Shardplate is gonna be a great barrier, right, and things like that so yeah. The problem is like, Invested is the wrong term for that, their Spiritweb is connected in different ways.
Why did [Alcatraz] set the kitchen on fire?
He didn't intend to. It just kind of happened. That sort of thing just kind of happens sometimes. It's based off of my cousin, who accidentally set the kitchen on fire making a burrito. He started his kitchen on fire because of a flaming burrito. Be careful about-- when you're cooking your burritos.
What is a song that you really love that a lot of people who know you would never expect?
Hm. Most people don't expect me to be enjoy Metallica as much as I do--but that tended to be more in the past, when Metallica was considered somewhat edgy before it became classic rock.
Please explain the arches and symbols that are seen at the beginning of each chapter and why you decided to do them.
The arches and symbols are a series of arches and symbols at the beginnings of chapters. There's an explanation for you. They rotate and change for every chapter. What they mean should be intuitively obvious to the casual observer, as Robert Jordan used to say.
I decided to use them because I wanted to have interesting things at the start of each chapter. These were done by Isaac. I originally sat down with Isaac and said, "I want to be able to build symbols at the beginning of my chapters. Something like in The Wheel of Time, which I really like, but I don't want to imitate them, I want to go somewhere different. I want to have different pieces that interlock together that form some stonework symbol that's at the beginning of every chapter." I also told him what I wanted the symbols to mean (among other things) and he actually transmogrified all that into an archway. I had originally been planning it to be some sort of inscribed rock stamp or something like a little relief at the beginning of each chapter, but he persuaded me that an archway with a different kind of symbol in the center [would be better]. So, they became arches through Isaac's working with the art and changing things and deciding what would look good visually.
Why can't Rock see Renarin's spren?
That will be answered in [Oathbringer].
