Advanced Search

Brandon Sanderson

Sazed Defends the Gate

The Sazed fights scenes interest me because of how much of a contrast they are to the Vin fights. Sazed's scenes are so brutal–strength against strength, blunt fighter against blunt fighter. Vin fights with grace. Sazed is just trying to stay alive.

I worked a lot on the plotting here of making Sazed's gate hold so long. When I planned the siege of Luthadel, I knew that I would need a very deep, character driven set of scenes with Sazed. It was the only way I felt I could add something new to this plotting sequence. The heroes defending their city during a siege has been done before. (One notable example being in The Lord of the Rings.) I was worried that I would be bored of writing these scenes, and so I decided to head that off by focusing in on Sazed here, who I thought would approach a battle like this in a new way.

I don't know what readers thought, but I found myself drawn very much into writing the scenes, which is a good sign. They up going longer than I'd anticipated, which is another good sign. Something about the contrast of the quiet religious scholar in the middle of such a terrible war was fascinating to me.

So fascinating, actually, that I forgot to write Ham into any of the scenes in these chapters. I didn't remember him until about chapter fifty-five. It was then that I remembered that the best warrior in the group had disappeared for the entire fight. So, I wrote him in, and added him to this chapter where Sazed gets to Breeze.

You'd be surprised at how often writers do things like this, forgetting a character. It's a tough call sometimes to keep track of everyone who is involved in various parts of a complex plot. Don't even get me started on the challenge of keeping track of everyone while writing in the Wheel of Time world.

Brandon Sanderson

Chapter Eight

Shallan Rejected Again

I do wonder at reader reaction to these Shallan sequences. Some in the writing group found these scenes too long. They figured it was inevitable that Shallan would end up as Jasnah's ward, and so spending several chapters with Shallan working overtime to secure the position wasn't interesting to them.

I admit this is a potential problem with the sequence. However, I felt it important to show both Shallan's determination and Jasnah's character with these sequences. I needed to show Shallan working very hard for what she wanted. It also gave me several opportunities to show the contrasting timidity/insolence that makes up how I view Shallan as a character.

Brandon Sanderson

Chapter Forty-Eight

The Lord Ruler's Final Message

This plaque from the Lord Ruler was very difficult to write. Originally it was much shorter, but I expanded it during the last draft because I felt it was just too useless. Even still, it doesn't say much. And that's the problem.

I was always intending the Lord Ruler's final plate to contain no answers. It works into my themes for this series—this was the "quest" book playing off the epic fantasy ideal of the powerful object that must be discovered and used to fight the evil. Except that this time, I wanted them to get to the place they'd been questing toward and find it empty, with no answers from the Lord Ruler. I felt this would only heighten the sense of hopelessness the characters are feeling in trying to fight Ruin.

The problem is, rereading this plate I realize that I've done exactly what I wanted—but that it's also a really, really big letdown. I hate letting down readers. It feels like breaking promises. After consideration I think this is still the best thing to do, but I wish I'd found another way to deal with this.

Note that the circle with a dot here is completely lost on Vin. The size of the circle in relation to the text around it, and some numerical clues scribbled around the perimeter of the circle, are indications of the size of a scale map it should be placed upon. If placed the right way, the dot will point directly at the Pits of Hathsin.

Vin's awesome, but she's barely got a basic education. A complex mathematical puzzle like that one is completely lost on her. If Elend had had the time to study the plate, he might have figured out where it was pointing. There wasn't time, however.

The Lord Ruler did leave a very important clue on this plate. However, I feel that obscure clues like this are deciphered far too often in books like this one. I think realistically if you're going to leave a clue like that, chances are good that it will end up getting missed or misunderstood. Which is exactly what happened here.

StefeSoo

How much of Roshar, its history and its magic system did you have developed before even writing the first book? I’ve seen so many inconsistencies from other authors when developing worlds over multiple books, but I can’t fault yours. How do you maintain that consistency when writing?

Brandon Sanderson

I actually did make some problems with timeline issues. That is a problem when you have multiple flashbacks, it’s like Tetris, a very complicated game of Tetris. Getting all these events in people’s pasts to line up with the time needed to get them where they are today is a big issue when telling this kind of story. For me, Stormlight is a different beast from my other books, my friends and I have an inside joke we call worldbuilder’s disease. It’s where an author spends so much time building their world that they don’t write the story. If you don’t sit down and write you won’t learn what the needs of the book are. Generally, your worldbuilding should be done in service of the story* (*: if that is fun to you). Generally you want to ask, what are the themes of my book and how is the worldbuilding going to help me. I tell you all this to say that I made an exception to Stormlight, I sat down for 6 months and wrote an extensive lore book which is now an internal wiki which we use. The only reason that this worked the way it did was that I brought on a great team quickly. Karen and Peter are the unsung heroes of this, they are able to spot these mistakes before they reach print. You’ll see in the next book that I have brought on people whom I am calling Arcanists. These are fans who I have asked to check over specifically world building. This is very important to me because epic fantasy is about making you believe that it is real while you are reading. I don’t want to be one of those people where this is an inconsistency and breaks like William Shatner on SNL.

Brandon Sanderson

The Number Sixteen

I worry that having Vin make this connection is one of the more forced events in the book. She'd just finished telling everyone that she wasn't a scholar, and now she discovers a pattern of numbers hidden in the statistics of how people fall sick? My original intention for this was to have her be in a mind-set where she was looking for natural rules—because of her earlier discussion of Ruin and his rules—which then allowed her to see this pattern.

Rereading it, I'm not 100% pleased with it, but it's too late to make a change. I'd probably rewrite it so that Noorden or Elend make the connection, then let Vin connect that to what she's been thinking about. That would have been a much more natural progression.

Note that here, Vin misunderstands what these numbers mean. She's looking for rules that bind Ruin. What she finds is not that, but instead a clue left by Preservation. Numbers are understandable to people regardless of language, and so Preservation decided to leave some clues for people to discover that would hopefully lead them to follow the plans he'd set in motion. In my prewriting, I'd intended there to be more hard facts to be discovered in the workings of the universe—numbers hidden in mathematical statistics that said rational things, like the boiling point of water or the like. All as a means of Preservation hinting to humankind that there was a plan for them.

In the end, this didn't work out. I decided it would be overly complicated and that it would just be too technical to work in this particular novel. The only remnant of that plot arc became the number sixteen that Preservation embedded into the way the mistsickness works, intending it to give a clue about what the mists are doing to people. "You now are Allomancers!" is what this was supposed to scream. Unfortunately, the Lord Ruler's obfuscation of Allomancy—and the number of metals in it—left this clue to fall flat.

Brandon Sanderson

Vin's Tactics Improve

Cloth-wrapped coins are something I probably should have thought of in the very first book. The problem is that I worked very hard to establish the "we use coins as weapons and to jump around" idea that I wasn't thinking about ways to improve the method. The coins are cheap, abundant, and effective, not to mention aerodynamic. However, they're also noisy. Adding a thin layer of cloth makes a ton of sense when using them to jump around.

Also, Vin finally ditched the mistcloak. Her reasoning is correct, unfortunately. I loved the image and the symbol of the mistcloak, but it was no longer useful, so it was time for her to go about without one. I'm sure there's symbolism in there somewhere—finally becoming her own woman, shrugging off the mantle Kelsier gave her, something meaningful like that. The truth is, I didn't think about that. I just acknowledged that the cloak no longer made sense. It was too noisy to be worth wearing.

Brandon Sanderson

Chapter Twenty-Nine

Narrative Clues about Spook's Condition

The scene here where Spook goes into the building without a torch, and Sazed stands outside waiting, is a direct parallel of a scene in book two where Marsh does the same thing to Sazed. Both Spook and Marsh can see in ways Sazed cannot, and both tend to forget others aren't as talented in that area.

That's not the only similarity. I intended Spook's glasses with cloth wrapped around them to be a reference to how an Inquisitor looks with spikes through the eyes. Both these parallels are designed to be big clues about what's happening to Spook in this book.

Questioner

My question is, your stories are so intricate and huge and I-- maybe it's because I'm not as genius as you are *Brandon makes a funny face* but where do you come up with these ideas in the first place. Like are you given a vision by the Stormfather, or-- *laughter*

Brandon Sanderson

So here's what I say to this, if you think I'm naturally a genius go read the story I wrote in high school. I posted it on my website and it is terrible... It's a matter of practice and a lot of spending time working on these sorts of things. This is kind of what I wanted to do my whole life now, so I practiced to be able to do it. And it's a good thing I took off because I would be worthless otherwise. I mean I did go to college, I did get a Master's degree, but all the other people in the Master's degree were running right and left to get into PhD programs and being on Student Council/Government or things like that. And meanwhile I was just writing stories. I didn't do any of that stuff. And so I'm very lucky that it took off.

I do have my own wiki, which you can't find, it's only on my computer and my assistants' computers to keep track of all this, because it has grown to the size that we need tools like that. In fact Peter Ahlstrom's wife, Karen Ahlstrom is the keeper of the wiki and her job is to go through my books and keep the wiki updated and make sure that I'm not contradicting myself.

Brandon Sanderson

Elend talks about Arrogance as a kingly attribute

Arrogance. Elend is just voicing some of my own philosophies here–though in my life, they were applied to writing, not kingship.

You have to be arrogant to be an author. It's tough, sometimes, to continue to believe that people should be willing to pay you for your work. You have to keep working, ignoring rejections, soldiering forward. There's an arrogance to that. Call it self-confidence if you wish, but it's the same thing.

I believe you can be arrogant about some things, yet humble about others. In fact, I think you need to be.

Brandon Sanderson

Elend talks to Tindwyl, then returns to his room and puts his uniform on.

Elend's relationship with Tindwyl cracks me up. That is all.

During this conversation between the two Terrismen and Elend, I think Sazed speaks my philosophy on characters and writing. They have to do what is important to them. I don't like to advocate situational ethics, but in some cases, that philosophy is appropriate. If you're a Jew who follows Kosher, then you don't eat pork. (Among a lot of other things.) For that person, I think it is morally wrong to break Kosher–because you've made a promise to yourself and God that you won't. However, is it wrong for someone like me to eat pork? No. I haven't made that same promise.

The same goes for my LDS belief in not drinking alcohol. I've promised not to–but that doesn't make another person bad or evil for drinking. They haven't made the same promises I have. It's about remaining true to yourself. There's nothing inherently wrong with alcohol (Christ himself drank it, after all.) But there's something wrong with making a promise, then breaking it.

In this case, it was right for Elend to do what he did. Another king could be a good man and make the opposite decision without rebelling against his own personal morals. There are a lot of absolute rights and a lot of absolute wrongs in life, but there are far MORE rights and wrongs that depend on who you are as a person, I think.

Sazed, however, IS setting himself up for some difficulty later on with some of the things he says here. You'll see what I mean at the end of the book.

Questioner

If characters are reflections of their authors, which character do you feel reflects you the most?

Brandon Sanderson

Which character reflects me the most. I don't think there is one… I think each of my characters represent me in some way and each character is different from me in other ways. So I can't say which one represents me more or less. They're all a bit of me.

Brandon Sanderson

They Discuss Religion

In my books, one of the things I prefer to do is have characters who voice opinions opposite to my own. I figure that my own feelings and beliefs will work themselves naturally into the text, and so there are probably a disproportionate number of characters in my books who see the world as I do. So, any time that I can add a strong character with beliefs that oppose mine, I feel that it gives the novel more credibility.

In this case, I think Tindwyl has a very strong argument against religion, particularly considering the world in which she lives. Prophecies—the staple of fantasy literature—are silly, if you really look at them. What's the point? I like that she offers some strong arguments against religion in this section because it not only fits her character, but gives context to what she and Sazed are doing.

Both Tindwyl and Sazed, by the way, use the same speech patterns. Kwaan does too, as did the Lord Ruler and Alendi. It's very subtle, but it's there—in my mind, at least. In this series, you can tell who is Terris by looking at the way they construct their sentences.

Questioner

You were talking before about how, when a book's not working out, you moved on to something else, and then it started to come together in your mind. Was that something that you-- you were moving on to something else and all these other ideas started popping up? Or were you revisiting your other book every now and then?

Brandon Sanderson

Every now and then I'm revisiting it, and I spend a few days on the outline saying, "How is this going? Are things working?" With [Skyward], it was starting to click, so I went specifically back to this one as things were clicking. I keep a folder of these half-finished outlines that aren't working for some reason or the time isn't right yet. And every time it's time to start a new book, those are all in the consideration.

Glorious_Infidel

The part of Mistborn Era 1 that I absolutely loved was how the flower drawing made its way among characters, eventually allowing the Hero to place them on Scadrial again. How early was that little plot piece put into the outline? Did the idea for it come from somewhere in particular that you remember? Little details like this are what make me love your work and I just want to get an idea of where they came from.

Brandon Sanderson

The flower plot started as a way to characterize Kelsier. As I've talked about before, I generally start an outline, then write my way into characters with some actual chapters, then go back and finish the outline with these characters in mind.

I knew I needed a way, after writing a few chapters of the book, to indicate to readers who might have missed it that this world has some strange ecology. Providing the picture of a flower, and talking about how strange it was to them (and the legends of it) became a method of showing this, but also showing Kelsier's feelings about Mare. Once I had it written into the book, I planned for it to show up other places, as a kind of visual reminder of what the characters were fighting for. (Even if the reader didn't quite understand how far it would go.)

Questioner

How did you come up with Shardpools and travel between the worlds?

Brandon Sanderson

...So, what happened is (close as I can remember; it's been a long time now), close as I can remember, I wrote Elantris in, like, 1998 or 1999, and I, at that point, didn't really have the cosmere in place. I knew I wanted to do some sort of grand epic, I knew I wanted to do some sort of thing, but I just wrote that book-- Elantris is mostly a discovery-written book, rather than an outlined book. And I wrote this book, and that's when I started a lot of these ideas. I stepped away from it, and I started writing a book called Dragonsteel, which was Hoid's origin story. And then I kinda got into the dark age where I was trying to be George R.R. Martin for a while. And then when I came out of that, I wrote The Way of Kings [Prime]. And during those days, I was really looking for these tying agents. When I put the first Shardpool in, I had-- I'm just like "Here's a well of power. I don't know what this does." I was discovery-writing the book. By the time I sold Mistborn and Elantris, I sold those two in a deal in 2003, that's when I'm like, "All right, now I'm gonna do this for real." I've had all this trial run-- I'd written thirteen novels at this point, and I'd sold #6 and #14, Mistborn not being written yet... So, I sat down with Elantris, and I built out the cosmere, and I built out these things, like "Why do I have this pool of power? What am I gonna do with the pool of power in the next book? I want this to be a theme." And I started building out the cosmere from there. So, part of it was organic, part of it was by design.

Brandon Sanderson

Vivenna and Vasher Watch the Vote

With this chapter, I wanted to bring together another focus chapter, a bookend—so to speak—with the one earlier in the book where everyone came to the court when Siri was first shown off. If you recall, that was the first time Vivenna saw Vasher, and also the first time we had all of the viewpoint characters together in one location.

Now we're back, kind of. Siri is here in this chapter, but she's pulled away before she can make it all the way to the arena. It's the best I could do, under the circumstances, as I knew I needed to launch us into the "Brandon Avalanche" after this chapter. That meant Siri getting taken captive.

Brandon Sanderson

Prologue

Szeth uses magic

In Mistborn, by intention, I saved any big action sequences with the magic until the characters and setting had been established. This was intentional.

I did the opposite in The Way of Kings.

There are a couple of reasons for this. I spoke on the learning curve of this book; I felt it was best to just be straightforward with what I was doing. This book would be steep, and you'd see it in the first few scenes. Better to be straightforward with what you are.

At the same time, I felt that readers would put up with more from me. Fantasy readers can handle a steep learning curve, and tend to celebrate books that have a lot of meaty worldbuilding. I feel from my own experience as a reader, however, that I am wary of giving much effort to a book by a new author. Learning a new world takes work, and if an author is going to demand that kind of work from me, I want big payoff.

My hope is that I've earned my right to put out a book with this involved a setting. I've proven that I can tell a good story, and that it's worth the effort to get into one of my books and worlds. The Way of Kings is the most challenging book I've written; the payoff will be equal to that challenge. (I hope.)

Brandon Sanderson

Elend Plays Along

Perhaps it's cheesy to have Elend trust Vin here, and to have them understand each other because of the love they share. But by golly, I'm cheesy sometimes and I like it. So there.

Brandon Sanderson

Back in update #3, I promised to check back with you mid summer. I'm here a little early, as this felt like a good point to let you know how your book is going. Yesterday, I finished Part One of the novel, which (at 111k words) puts us at just under the 28% mark, assuming the book is 400k words total. (The first book was around that; the next two were longer, so fair warning, the % may not be entirely accurate.)

The short, TLDR version, is this: Part One is done, the book is looking good, and I'm modestly confident in a 2020 release.

Read below for a more fiddly, numbers oriented analysis of how things are going.

I gave myself 10 months to do the rough draft as a hypothetical deadline. That is a little on the quick side, but doable. That translates to about 1300 words a day, if I were writing seven days a week. (Which I don't do--I usually manage to write new fiction four days a week, with one day dedicated to email, meetings, newsletters, grading student finals, that sort of thing.) Once in a while, I sneak in a little work on Saturday, but I don't count on it.

What this really means is during those four days writing time, I need to do about 9k total words to keep pace. This wordcount number, I should warn you, is more a way for me to judge my progress rather than it is an absolute requirement. The writing process needs to remain flexible, even for someone who likes a strong outline like myself, and while guidelines for wordcounts are helpful, I'm careful not to treat them like a factory quota, to be achieved regardless of quality.

They are helpful for pace, though. In an average week, I commonly do between 8k and 15k of writing, so this is a manageable goal. With that in mind, how is it going?

Well, as talked about in the last post, I started Stormlight about a month late because of some work I decided needed to be done on Starsight. That meant I started the book at about 44k words behind in April. Steady writing through April up until May saw me making up ground. When I flew to Germany for the tour there, I was 31k behind instead, and was feeling good about the progress.

Germany was, of course, a disaster for new writing. (Tours almost always are.) I got some work done on a sequel novella to Sixth of the Dusk, but no Stormlight writing. (Really complex narrative is difficult for me to do when traveling a lot, as it requires more focus than I can often give.)

When I got back, I had slipped to 52k words behind. I dove back in, and restored the writing grove for Roshar, and have made back most of that time. As of yesterday, I'm 33k words behind, assuming I want to have the rough draft done by January 1st. (Which is pretty much a must if I want to release the book in 2020.)

As before, I do need to give the warning that if the book needs more time, I WILL take it. I recognize that is what most of you would like anyway, so we'll see what happens. Part One, however, turned out very close to my plan--and I'm pleased with it. As I said, this book follows more of a Book One style plot than a Book Two or Three style plot. The characters will be mostly isolated doing their own thing in three separate plot lines, interwoven in the narrative, but with little interaction between them. In fact, the three different arcs should (if I work it out right) hit their climaxes at three different points, giving a more sequential hit of more intimate plot moments rather than one big enormous finale, like happened in Books Two/Three. (Not that there's anything wrong with that; I just prefer some variety. Book Five, as you should be able to guess, will be more like Books Two/Three than Books One/Four.)

So my next step is to dive into a revision of Part One. This will put us a little more behind, as it will take about a week--but it will let me get the first chunk (which is book length on its own) to Moshe for editing over the next few months. That way, we can use his time in parallel to mine, as well as let Karen do continuity edits and Peter (eventually) do an editorial pass.

If that works as it should, and if I do this with each part as I finish them, I'll have 3/4 of the book waiting with editorial work done on it come January 1st. That will let me dive into a third draft immediately.

My goal after the revision of Part One is to pick one of the character clusters mentioned in the previous updates, and work on it straight through to the end. (I'll probably pick the second arc, which should be around 80k words long and follow three viewpoint characters in their distinct plot sequence.)

As always, thanks for reading and for putting up with my eccentricities as a writer. As a note, like in the other posts, I will not be sending replies to my inbox--so apologies if I miss something you say in this thread.

Questioner

One of the things I really appreciate about your series in general is the depth of your magic systems, whether it's Investiture or-- Whatever the rules are, they're very detailed, very internally consistent. There's never anything where I can point out "Oh that contradicts something that somebody said two books ago". To what degree do you come up with--I guess--the universe before you write the novel or the--

Brandon Sanderson

Good question! So he's talking about my magic systems and how internally consistent they are. And the question is, do I do the worldbuilding first and then write the novel around it or do I do it the other way around. And the answer is: Yes! Which is one of those unsatisfying authorly answers. It depends on the story. For instance with the Wax and Wayne books, I already had the world built and so in that I'm building a story around a setting that already existed. With The Reckoners what happened is, I had the idea for people who gain superpowers all going evil and that concept spun me into building a story about it. And so that's more of an idea that spins a story rather than a setting.

Sometimes I've had a character that I really want to tell a story about, like Raoden or something like this, and then I build magic to match. It happens all different ways, and really what it is is a give and a take. Once you start with a character, you start building a story around them, and then you stop and work on the magic for a while and then you go back to the character and then you go back to the magic and then you go to the setting, then you go to the plot. As you build an outline you weave all these things together, you're not just spending time on one until it's done, and then the next 'til it's done, and then go. But it's happened all different ways for me.

TheQuentisentialYou

Why does Marasi's memory of the voice of "Death" or Marsh, change? From Alloy of Law to Bands of Mourning chapter 15?

Brandon Sanderson (Part 1/Part 2/Part 3)

This is a thing that drives Peter crazy. My research tells me that people change memories based on expectations and environment.

On occasion, you'll see me having characters miss-quote themselves, or remember events clearly wrong. I do this for realism.

(Though on occasion, it's just a mistake or lapse on my part. Those we fix. The rest drive my editors crazy.)

Questioner

I have a question about the epilogue in The Way of Kings. You have Wit give this interesting, kind of philosophical-- sermon-thing on novelty. I wonder, what do you think about what he's saying, do you--

Brandon Sanderson

Usually those little things that Wit will do, he does one at the end of each book, are things I've thought about. I don't always one hundred percent agree with Wit. He tends to hyperbolize in order to make a point, but I do think it's really interesting that novelty is so important to us. Even if you did something independently, but come up with it after someone else, then it's not considered as great an art, right? Which is really, really, really interesting if you think about it. And I love that idea, and I like talking about that sort of thing, so these-- All of Wit's little monologues--there's one, like I've said, at the end of each book--is something I think about, but he goes off in his own direction sometimes.

Questioner

I've used that little monologue in some philosophy class that I've in, such as philosophy of art.  

Brandon Sanderson

I did take a-- I took a lot of philosophy classes, if you can't tell, during my undergraduate years. I was quite fond of philosophy. Though the philosophers were all really needed to learn how to write. Man, those guys just, I mean, paragraphs like this that don't really even say anything. I love the ideas, but man, they could use editors. But, yeah, I enjoyed my philosophy classes, and I really liked philosophy of art in particular, it's very interesting to me. The whole Oscar Wilde's intro to Dorian Gray is my favorite speech on art, that all art is, by necessity, useless. Stuff like that really, really gets me going.

tschan22

The one thing that impressed me the most [about Skyward] are the awesomely vivid and thrilling dogfight scenes. How did you come up with these dogfighting techniques? Any particular inspiration that you can share with us? Thank you!

Brandon Sanderson

So, one of the things I try to do in combat situations is define a few rules that are different from the way our world works, nudging the combat to be more fantastical. This (hopefully) allows even those who are familiar with the situation to better suspend disbelief--since the rules of combat are different, then battles can theoretically play out in (plausible) ways that I decide and present, rather than running into real-world situations.

For Skyward, I started with studying real-world dogfights, then added a couple big changes. One was some anti-gravity, the other was nudging the battles more toward the way they might work in a vacuum by removing some of the air resistance. The final piece was the light-lances, further pushing the combat into a direction where pilot maneuverability was enhanced. (And the battlefield could be different each time, allowing more variety.)

That all together gave me the way I went about these battles. But I will say this--watching what some fighter pilots can do with their jets was enormously impressive. I had no idea, honestly, the things they are capable of doing.

ThatTimeI

How do you go about setting the age/reading level of your books? Alcatraz, Reckoners, and Mistborn feel completely different...

Also, where does Skyward fit in the spectrum of maturity?

Brandon Sanderson

It's mostly done by instinct as I look at similar books, at myself at a given age, and at what my readers think. (Particularly those of younger ages.)

Skyward is somewhere just underneath Reckoners in age.

Questioner

Do you ever feel limited by the commitment you've made with the massive writing of the Cosmere, or is there enough variety within the Cosmere to keep you happy and feel like you have some flexibility to do what you want to do with your writing ideas and preferences, especially as they change.

Brandon Sanderson

The answer is no. Fortunately, I designed the Cosmere as the thing I wanted to do, and I had essentially been writing the Cosmere for like, eight books before I sold. So I knew pretty well that I would have enough flexibility and things like this.

I am very excited by large-scale continuity connections between stories - watching eras come and pass in epic story-lines and things like that. I've never felt constrained by it. If anything, once in a while I feel constrained by contracts coming at the wrong time when I'm super excited by something else - like when a deadline is coming due and I'm like "I need to get off of this and write this other thing".And that's just a matter of - it's a function of the popularity that we enjoy that I've talked about before. I think that if I were - I'm not going to go back to this, but when I were a little less popular, the publishers would sit on books for like, two and a half years after I turned them in, to find the right place to publish them, or the right time. The bottom-line of the entire company was not appreciably affected by my book releasing.

Nowadays, the bottom-lines of companies are appreciably affected by my books releasing, so they don't sit on them. You don't turn in a Stormlight book and have it come out two and a half years later. Fans would probably have a heart attack if they knew we were doing that. But what it meant was that this buffer that I had vanished unexpectedly out from underneath us and so suddenly everything I'm writing is at the last moment that it could get - the last possible moment for it to be turned in, to be published, is generally when it's getting turned in. And this is just because people are really excited to get the books out. What that means is that things will happen where it's like, in an ideal world I don't think I would have gone straight from Rhythm of War into Dawnshard. It turned out to be okay because I was writing different characters, but I really like space between books in the same series as a way to refresh myself, and ideally I would have written the next Skyward book and maybe the next Wax and Wayne book and then done Dawnshard and then written the next Skyward book, and then come back to Stormlight.

But that just wasn't possible because of the timelines that I've set out. Dawnshard really needs to be out before Rhythm of War comes out, and because of that tight deadline then I'm on another tight deadline, which now means that writing the next Skyward book has to happen next because my YA publisher has been waiting very patiently without a book for quite a while, and while I probably would want to go to Wax and Wayne 4 next because I've been away from that even longer, Wax and Wayne 4 is for the same publisher that's now publishing Rhythm of War and they've got plenty to do and are plenty busy, and I need to get something to the other publisher.

These sorts of things are the annoyances of the reality of being a professional writer, but I never feel constrained by the Cosmere. I've never felt constrained by "Oh I promised ten Mistborn books or whatever" (30 seconds of figuring out how many Mistborn books. 13?)

So do I feel constrained by that? No I feel excited by that. That's never been an issue. Do I feel constrained by the fact that I really need to get Skyward 3 and 4 and Wax and Wayne done in time to get back to Stormlight 5 to have Stormlight 5 come out on a reasonable timescale - that, I do feel constrained by.

Questioner

Do you ever have trouble keeping your characters straight? How long does it take to get back into them?

Brandon Sanderson

If I stop writing and go back, it is hard. It takes about a month to get back into a story after I stop. I don't get the characters mixed up.

Questioner

*audio obscured*

Brandon Sanderson

I try to, but I don't always manage it, because of deadlines and things. It's always going to cost me, and I know it will, sometimes you can't avoid that. In the old days, I never did it, when I didn't have a publisher, but now it's my job. When they say, "We need this revision done," I stop and do the revision, but it costs me.

NOOK

Did you have the ending planned out for the Reckoners series when you started writing?

Brandon Sanderson

Then I build a series around the ideas and themes that worked in the first book.

I had the ending of the first book well in mind. Once I finished it, I sat down and plotted the next two books.

This is very common for me in a series. Writing the first book, making sure I have the characters and ideas down first.

Questioner

How hard was it for you to write the events surrounding Elhokar in Oathbringer?

Brandon Sanderson

Moderately hard, though Elhokar had a much worse end in the original continuity, 2002 version. So this was a better story for Elhokar. So I at least can feel that I gave him that.

Questioner

So is there a connection with K's? Where the characters...

Brandon Sanderson

You mean names with K's?

Questioner

Yes...

Brandon Sanderson

I'm going to say it's more coincidence. It has to do with what I like to name people. Kaladin's original name was Merin and it was just bad. So I eventually settled on something I liked. I just like the sound of it.  If you dig down into it, most of the names in the cosmere do not have similar linguistic roots. Some do. I'm just going to chalk it up to coincidence.

Brandon Sanderson

Nothing is worse than trying so hard to do the right thing, then discovering that it was the worst thing you could have done.

I wrote this final chapter to be a slight upswing in the plot so that we wouldn't end on such a sour note. No, I didn't kill Elend. I sure wanted you to think that I would, but I never planned to. I had always intended them to discover where the first Mistborn had come from when they reached the Well of Ascension, and this bead of metal is very important to the cosmology of Scadrial and, indeed, the entire overarching story of my books as a whole .

Elend was intended to become Mistborn from the very early stages of this book's development. So, I figured I ought to do something to him that would make him NEED to be Mistborn. Why did I want to make Elend Mistborn? I know it bothered some readers. I felt I'd explored his character as well I could in this book, and I needed something to upset the balance–tenuous as it is–that he'd arrived at here. He's not going to replace Vin–you'll see in the next book that Elend as a Mistborn doesn't change as much as you might think. But it does put him in new situations, and those situations allow him to progress as a character in the way I felt he needed to.

Anyway, this will make for a very interesting book three. Also, the mist spirit–now, maybe, you can see a little of what it was trying to do. It was struggling to find a way to get Vin to NOT go to the Well of Ascension. Giving hints to Sazed, scaring her, threatening Elend, pointing in the opposite direction. However, it is rather hampered in what it can do, as we'll find in the next book.

Brandon Sanderson

Vivenna Realizes That the Mercenaries Are Traitors

And finally, here we are. The biggest gamble in the book. I went into the novel knowing I was going to do this, and I wrote all along with the intention that Denth and his crew were working against Vivenna's interests.

As I mentioned in a spoiler section earlier, Tonk Fah is a sociopath, and much of the time when he makes his jokes about hurting people, he's serious. (The vanishing pets are a subtle clue to this.) He finds the concept of hurting people funny. We laugh because of Denth, who's running interference and making it seem like they're just exaggerating to get a laugh.

The death of Lemex is another clue—he was, indeed, immune to disease. (Though not poison, if enough was used.) Anyone with that many Breaths is immune. Another clue is what the mercenaries are doing, riling up the Hallandren to war rather than working to prevent it. Not that Vivenna wanted them to, but through Denth's manipulations, Siri has all but been forgotten in the face of the work against Hallandren. Of course, Vivenna herself was willing to forget Siri. Not by intent, but because she has always been more focused on Hallandren, and Siri was partially just an excuse.

The fact that Vivenna's father's agents are never seen looking for her, the fact that the mercenaries don't seem to care about money, the way Jewels was frequently gone at the beginning (partially so she could tail Vivenna), and much of what they said and did were supposed to be reinforcement of this moment of betrayal.

All that said, however, I don't think it's at all obvious what they are really up to. And that's why this is a gamble. This twist isn't an "Ah, I should have seen it!" revelation like the one about the Lord Ruler at the end of Mistborn. Instead, it's a twist that—hopefully—has just enough groundwork underneath it not to seem out of nowhere. I fully expect it to blindside most readers.

Questioner

What's the longest you've spent revising a single sentence?

Brandon Sanderson

Usually, the longest I spend revising single sentences would be the keteks in Stormlight, which are the poems I write that go along with it. I'm not so good at poetry so it takes a lot longer for me to get poetry right. Followed by humor scenes. Witty lines, and things like that, take a long time for me to actually write.

Brandon Sanderson

Epilogue

The End

This epilogue ties up a few loose ends, then sets up a couple of others. Much like most of my endings. At least now you know how Vin Snapped. Many people have wondered this, so I thought I should include it somewhere in the book.

Here, with Vin and Elend in the flowers, is where I could have made them survive, if I'd wanted to. I could have patched everything up and given the "happy" ending a lot of people wanted. But . . . well, I just couldn't. It didn't feel right. Anyway, I agree with Sazed. They deserve to rest. I added the line about him having spoken with them to soften the blow of their deaths somewhat and give confirmation of a pleasant afterlife for them.

This chapter is a reminiscence, in a way. Since book one I've promised a return to green plants and a blue sky, and it was always my intention to make good on that promise. I think it's sometimes hard for people to remember that in the Final Empire, the plants were brown and the sky red. I don't think that matters so much, as I believe Spook and Breeze's reactions—and the descriptions—in this chapter work to provide the proper impact.

Flowers have been another thread, along with the little picture that Kelsier carried around in book one. I'm glad I was able to weave that back in, though it was an afterthought. (As was adding it into this book from the early chapters with Vin and Sazed together.)

That first line of Sazed's book was not an afterthought. It can be found as the very first epigraph of this book. I am, unfortunately, the Hero of Ages.

Yes, Sazed. You are.

McCullough

In what ways do you feel that finishing The Wheel of Time helped to prepare you for The Stormlight Archive and how did it change your writing in general, if at all?

Brandon Sanderson

I gained three things, I feel, by working over the years on [The Wheel of Time]. (And, in particular, by studying [Robert Jordan]'s work in depth.) I learned how to better balance lots of different viewpoints, I got a better grip for foreshadowing and subtlety over many books, and I gained a deeper understanding of how to write a really sold third person viewpoint.

NotOJebus

What do you feel is the main difference between writing sci fi and fantasy is? Did you learn things in writing Skyward that you feel will help you write Mistborn Era 4?

Brandon Sanderson

For me, it's a fine line, because I'm not writing Hard SF--but instead, a kind of hard fantasy. So my books tend to ride the line between SF/Fantasy anyway. And Skyward is straight up space opera, I'd say--most of the technology that we use in the books is fantastical anyway.

In SF, I feel I can lean on shared vocabulary a little more. This has been particularly handy in the novellas I've done, where we can use Earth as a reference point. Modern (and beyond modern) communication, and expectations of character education, also play a big part in changing how I approach the stories.

In some ways, it comes down to different storytelling traditions, and what they each afford you. Again, though, it would be different if I were writing hard SF.

Brandon Sanderson

Let me set up this piece for you. Let me see if I can--I'm gonna look at the file and see when I first started writing this piece-- The master computer, that if you ran away with you would get all of my secrets. *crowd laughs* Nope, it says created when I created this new computer, so that doesn't help me.

But this is old. This is like 8 years old. Maybe 9 years old? And this is a story that I started writing-- You can date it by-- because you guys have been waiting for it. You can date it by when I told people I had written this thing in interviews. So it may be 2010, I dunno. You'll be able to find out I think by looking through the interview archive.

I wrote this thing that is very cosmere-aware. It's very kind of inside-- sort of a little bit self indulgent. And I wrote it, I'm like, "I'm gonna post this on my website." And then I thought, "No, this gives away too much. I can't post this on my website, and so I'm not going to finish it. We're going to wait." But now most of the stuff that it gave away then has come out in things like Secret History and stuff like that, so now I can actually read it. So I called this "The Traveler."

Brandon Sanderson

Chapter Sixty-Two - Part Two

Betrayal and Trust

Sazed's discussion on betrayal and trust here is very important. It harks back to Vin's conflicts in the first book, as well as one of the major interactions between her and Kelsier.

Kelsier believed that it was better to trust people and be betrayed than to never trust at all. He loved his wife, but worried that she'd betrayed him. It was a major source of pain and conflict for him. Yet, in the end, he decided that even if she had betrayed him, he preferred having loved her and trusted her. He treated his crew the same, not letting a worry about traitors ruin the companionship of his team.

I wanted to work this into Sazed's scenes here because, to me, this entire series uses trust as a theme. Whom do we trust and why? Do they deserve it?

It's about being betrayed, but taking the time to understand why we were betrayed. Kelsier forgives Mare, Vin forgives TenSoon. Sazed has to forgive God.

Questioner

One of my favorite aspects of your books is you always have this character that kind of has a submissive personality starting out and they evolve into a more dominant personality. Do you have an author for a series that kind of inspired this?

Brandon Sanderson

Inspires me? He says frequently I have a character who's in a submissive position that becomes dominant through the course of the series. Do I have an author that I'm relying on specifically. No more than the "Hero's Journey", the general idea of the person growing and becoming master of their domain where once they were not. I don't think I have a specific person I'm looking at for that. But it is a fun type of story to tell, just because of the way you can show progression with a character.

Questioner (paraphrased)

I love Writing Excuses and I'm actually going on the Retreat this year. I think the cruise is a good idea.

Brandon Sanderson (paraphrased)

See Mary did the Steampunk cruise, and she just kind of asked "Wait a minute, what are people paying for this?" and it was less than we had to charge them for the retreat at her house, because of all the food and stuff we had to do. We were like "Wait a minute, you can do this for the same price or less? Why are we doing this at her house?"

Questioner (paraphrased)

Cruises are a blast.

Brandon Sanderson (paraphrased)

I've been on several and I've enjoyed everyone of them.

Questioner (paraphrased)

The Alaska cruise has been one of the best experiences of my life. So it's going to be good for writing and inspiration.

Brandon Sanderson (paraphrased)

My cruise story is the Taravangian interlude [in Words of Radiance] was written on a cruise with my family. I sat on the little balcony to our room typing while everyone else went off and did stuff where there were people. And I was by myself and it was great.

XavierRDE

How much work, time, care and difficulty goes into constructing each book's ketek in the Stormlight Archive and sticking every phrase into the different parts of the book?

Brandon Sanderson

More than I expected, that's for sure. Not being a poet, it takes a lot of work for me to get something that I feel isn't embarrassing for the keteks.

ASIC_SP

Was it intentional to introduce Musicspren as the first spren in TWoK?

Brandon Sanderson

It was intentional in that I knew I needed some spren very early in the book, to establish the world--and that was the scene I was working with to do that. It isn't supposed to be hugely meaningful that those spren are first, though they are more relevant to later parts of the story than some of the earlier ones.

Brandon Sanderson

Blushweaver and Lightsong Visit Mercystar

Just like the last scene showed off what a lot of the standard gods are like, Mercystar is supposed to hint at what a lot of the goddesses are like. I think that there would be a good number of them who would turn out just like this—given anything they want, told how important they are, and blessed with a beautiful and perfect body no matter what they eat or how they act. Imagine what that must do to a person.

Brandon Sanderson

Siri mentions sounding out words as she reads. This was actually a very common thing in most cultures, even literate ones, up until the modern era. People would speak to themselves as they read. Even someone who could read, like Siri, wouldn't be particularly accustomed to reading. Their society didn't demand it the same way that ours does.

In her scenes with the God King, I didn't have her sound out the words for reasons of brevity and clarity. However, if you were there watching, you'd hear her reading out loud each word that the God King wrote on his board.

Brandon Sanderson

Chapter Thirty-Six

Talking Scenes

I realize that my books contain an awful lot of scenes where people stand around talking to each other. I try to keep them moving as much as possible, changing scenery, making the dialogue dramatic, allowing the characters to make conclusions and decisions. But, at the core, my stories consist of a lot of people discussing and weighing options in their heads.

I worry that sometimes I need to make things a little faster paced. I wanted to avoid too much of Elend brooding. In fact, one of the earliest rewrites of the book I did (one I did before I finished the novel, which is rare—I usually don't rewrite until I finish the rough draft) was done specifically to make Elend a more active character. In that same rewrite, I tried very hard to work out his character arc. (It just hadn't been working in the first draft.)

This was what I came up with. The emperor who knows he will end up having to make a very difficult decision, and fearing that he'll do what's right for his people—even if it seems morally wrong at the time. I didn't want to have many chapters of him brooding, but that sort of decision can't be off-the-cuff. For his character to work, I needed him to wrestle with the question—even go back and forth on it, as we as people often do.

Bobby

Do you have any advice for new fantasy writers to smooth out any road bumps on the way to getting published and how do you juggle success with the life you had before your books took off?

Brandon Sanderson

I have a ton of advice, but most of it I can't put here. I have a couple of resources where I go into depth. The first is Writing Excuses, my podcast. I suggest that you start listening the with January 2015 episodes—it will be very helpful. For something more in-depth, I post videos of my writing lectures on YouTube. This is the class I teach at BYU, and goes very in-depth on publishing.

Here, I'll just say this: Practice a lot. Write the kind of books that you wish were being written. Make good habits, and learn to be a writer long before you publish—own being a writer. Do the work, learn to think like a writer, and guard your writing time as if this were your job. Then when it actually happens, it will be more like "Hey, it finally happened" than "Wow. What do I do now?"

Brandon Sanderson

Chapter Eight

Wayne imitates a constable

Writing this Wayne chapter was a pure delight. It was here that I was finally certain that I had his character down, following the misstarts before changing to this version of the story. Here is also where I made the decision that I'd chosen right in expanding the short story to a novel. For me, a single viewpoint character often isn't enough to carry a novel. (Unless I'm doing a first-person narrative.)

Wayne, as a character, really grew into himself here. It is interesting to me how quickly he came together as I started working on this book. That first false start was awful—yet, once I started writing about him as a counterpoint to Wax, he just popped out fully formed, Athena-like, brimming with personality and strength.

I do worry that he'll overshadow Wax a bit—which is one reason why it's good to wait until chapter eight to give him a viewpoint. However, I think it is a matter of appeal. The two of them will appeal to different readers. I really like how the two play off one another and have different strengths.

By the way, I realize the cover has a problem with Wayne holding a gun. It wasn't worth complaining about, as I felt that there needed to be a gun on the cover to indicate the shift in the Mistborn setting. However, Wax's hands are both down low, so the gun really does need to be in Wayne's hand. Just pretend he's holding it for Wax.

Questioner

How much research do you have to do in sciences and technology and history to create a world that is more relate-able if not as believable as they are?

Brandon Sanderson

What it takes is a lot of general knowledge, meaning you read a lot of history books, a lot of science books, and this general knowledge that you then incorporate. It's not like I go and say "I need to know more about this thing". I'll do that for characters and some aspects of the worlds sometimes but mostly this is coming from spending 10 years learning all this stuff. Does that make sense?

Questioner

It makes total sense, and my 10 years of community college will help me write.

Brandon Sanderson

Yes it will.

Questioner

My 120 credit-hours.

Brandon Sanderson

120 credit-hours, that's what makes a good writer... That really turns-- You can pick out "Oh that's my linguistics class" and I'd be like "Oh that's my chemistry class. Oh that's the class I snuck into, the psychology class".

Brandon Sanderson

Reen

I hope I wasn't too obvious with my increased references to Reen in this chapter. A few of my alpha readers noticed it, but I think it's subtle enough that I decided to leave it. Obviously, I was trying to prepare the reader for the appearance of Reen later in the chapter by giving a few reminders of who he was and what he meant to Vin.

Questioner

My background is twenty years of military, and as I've been reading your Way of Kings, I've found that your insight into what it like to be a member of the service, all the mental trials including post-traumatic stress disorder is all very well thought-out and I'm curious how you came across that knowledge.

Brandon Sanderson

Lots of interviews and lots of reading on forums. People who post their hearts and souls on-- if you find the right forums, where people are among like-minded individuals, you can watch like a fly-on-the-wall and see what people are saying and how they are feeling. Because I strive for authenticity, that's what I-- whenever someone is feeling I want it to be authentic, and the more far removed from my own experience the better it is, if that makes sense to me, to get it into my books. So I try very hard for that.

Questioner

In fact I'm going to be suggesting to the Veterans' Administration to use the series for treatment for PTSD. There are literally some things in there I've never seen anyone actually understand or get before. Some of my military friends have just been in absolute tears after reading your book.

Brandon Sanderson

That is an honor to hear.

Questioner

Where do you come up with your leaders, because they're phenomenal.

Brandon Sanderson

It takes a lot of reading and thinking and coming up with who the character is. I don't know how do any of the characters-- they just kind of come, but there is a lot of hanging out on forums where people are talking about leadership positions in the military so I can kind of get a view on how they're thinking. Sun Tzu was very helpful as well.