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Brandon Sanderson

You do know that I've got a character in one of the books named Bowen?

Herowannabe

Really?

Brandon Sanderson

Yes. He's actually been in the books so far, but not by name. He's one of the Worldhoppers. If you go look and talk to them they may have identified him, some people who have read. He's from White Sand. I wrote the book in '98. Yeah, he's one of the Purelake guys.

Herowannabe

Is he Blunt?

Brandon Sanderson

Yeah, yeah. So yeah, Bowen, you'll have to see because when I redid the linguistics for the world, his name I think got changed. I think it's now Baon. But in the very first draft of the very first book I ever wrote his name was Bowen. And the reason I think I changed it - is because he's a bowman. And I'm like "I named the bowman, the archer, 'Bowen.' That's kinda dumb." But in my head he's still Bowen.

mooglefrooglian

Why is Hoid’s color aura from his Breaths not noticed by anyone on Roshar? Are the characters just not used to noticing that sort of thing, or does he not have one?

Brandon Sanderson

There are a mixture of reasons. Not the least is Hoid's control over Investiture.

uchoo786

Would someone with Breath be able to notice his aura on Roshar? E.g. Vasher?

Brandon Sanderson

Various methods of detecting Investiture would still work, depending on how good a job Hoid is doing of suppressing his.

Brandon Sanderson

Chapter Thirty-Four - Part Two

Kelsier saving Elend in this chapter was indeed something of a homage to Les Miserables. It is one of my favorite classics, and Elend's own character—with his group of idealistic noble friends—was partially inspired by Marius and his cohorts. I wasn't originally going to have Elend in this scene, but I decided to throw him in and give Kelsier the opportunity to save him, partially as an inside reference to the story that inspired him, and partially to let Kelsier do something truly selfless as a final send-off before he died.

Brandon Sanderson

Anyway. . .I break triad here again. I'd forgotten about this one. Actually, you'll note that the closer I get to an action sequence or a climax, the more quickly I shift viewpoints. I do it half-intentionally, half-unconsciously. (If that's possible.) Logically, I know that quickly-shifting viewpoints give the scenes more tension and a sense of movement. Unconsciously, I just know that it's good storytelling to keep things quick–and it's more dramatic when you can end with a cliff-hanger line, then switch to a new viewpoint.

I'll admit that this scene borders on being too melodramatic. A couple of things justify it in my mind. First, the scene is more about Raoden confronting how he'd made a mistake with Shaor's men than it is about Sarene discovering that she'd been betrayed. Second, Sarene's "betrayal," as explained in the next chapter, is really about her own prejudice. Inside, she was just waiting for something like this to happen. That's why she didn't give Raoden the benefit of the doubt–she never wanted to like him. It was almost like she was eager to be hurt, expecting it, since things obviously couldn't work out for her. (Or so she unconsciously assumed.)

So, in a way, they were both kind of expecting something like this to happen. When it did happen, they allowed it to. In my mind, this takes it from a "silly misunderstanding" and changes it into a "character-driven conflict."

Chris

I've seen in reviews of Mistborn that a criticsm that pops up from time to time is that you tend to repeat the basic principles of the magic system. I've seen that some feel hit over the head with it. Personally, I liked that fact since the magic system was new and it helped me to remember and understand.

I'm also seeing criticsm now with Warbreaker that the magic system isn't explained enough to thoroughly understand it. I've pointed out in discussions that not even Vasher understands it all.

But here's my question: Did criticsm of the magic system's explanations in Mistborn have anything to do with Warbreaker having considerably less explanation in its magic system?"

Brandon Sanderson

Wow, that's a very detailed and interesting question. The answer is no.

...Okay, there's more to that answer. I accepted the criticisms of the Mistborn books with the knowledge that there was really no other way around it—the way I was writing those books and the complexity of the magic system made me feel like I needed to give those hints. It's not like I'm trying to write down to the lowest denominator, but at the same time I want to make sure that the complicated magic system is a force driving the book—and is something interesting rather than something confusing. Across a three-book epic like that I wanted to make sure that I was not leaving people behind. That's always a balance in a book series. And I don't know where to set that balance. In fact, I think the balance is going to be different for every person. Any given book that you read, some people are going to find it overexplained and some people are going to find it underexplained. I'm always trying to strike the right balance, particularly for the tone of a given book, to make that work for the novel.

With Warbreaker, as you've pointed out, the magic system is much less understood by the poeple taking part in it. In the Mistborn books the magic system is very well understood. Even though there are little pieces of it that people don't know yet, those peices are easy to grasp and understand and use once people figure out what they are. In the Mistborn books the world is in a state where people have spend 1000 years using this magic system and perfecting it and understanding it. In Warbreaker, they haven't. They still don't know much about what's going on. It's very mysticized. People haven't sat down and spent enough time pursuing scholarly research about it, figuring it out. Beyond that there's no immortal Lord Ruler figure explaining it all to them—or if there is, it's Vasher and he's not telling anyone. And so the magic in Warbreaker has a very different feel to it. I wanted it to be a little confusing, because it is confusing for the main characters.

I wouldn't say that the criticism of the Mistborn books is what drove me; the needs of the various plots is what drove me.

Brandon Sanderson

Kiin doesn't take orders, here. Another interesting little character trait, but it shouldn't be too surprising. Kiin's personality all along has indicated how little he regards the titles and authority of other men.

Brandon Sanderson

Lightsong Inspects the Murder Scene Again

The interesting thing about this scene is that it reveals almost nothing about what happened. At least, it doesn't reveal anything to the readers.

However, it reveals a whole lot about Lightsong as a character. I waited until he'd been established before starting to bring up questions like the ones in this chapter, where I begin to dig deeply into who he was before he died. In a way, he's not investigating the murder so much as he is investigating himself—and that's why the scene works, even though we know the information about the murders he reveals. (Though we don't know who that second person was. Unless you read the spoiler above, of course.)

Brandon Sanderson

Harry Potter is a really interesting example because it tends to be, in a given book, pretty hard; and then across the entire continuity it lets itself be soft. And so, what you end up having is a given book is really tight with the use of magic, though again... I don't know if you want to get into this, but when we talk about a hard magic system, there are many things we mean, and I think as a writer it's good to separate out internal logic versus external logic. If you want a hard magic system... Lee likes the external logic to really work, meaning you're asking where is the power coming from, how does it realistically affect the economics, how can I explain to someone outside the system how this magic is actually working, how does it not break the laws of thermodynamics. 

And internal logic means that it's consistent. And so for instance, you can look at a lot of superheroes as a good example. Some superheroes do not try external logic. They just say "This person has this power, and it works this way." The further they've gotten along, the more external logic they try to add. "Oh it's the X-gene" or it's, you know, "You get the power from the sun" or things like that. That is a very different thing from the internal logic of a story, where you say, "This character has this power, it works like this. And It always works this way. We don't explain how realistic it is, but we are consistent." Two very different things. Both very important to think about for your story, but you can have a story with only internal consistency, and Harry Potter is pretty good at this. She doesn't tell us "Oh, where does the power for magic come from, and what are the laws of things," no, but it can be very consistent, particularly within a given book. Internal logic.

Melhay

Is Adonalsium going to be mentioned by name in Warbreaker and The Way of Kings or is he going to be an underlining "God"(I don't know what to call him yet) idea? I am curious now, so I will have to keep my eyes open for him.

Brandon Sanderson

Adonalsium (Ahy-doe-Nahl-see-um) will be mentioned by name again. Ruin and Preservation were what have been called Shards of Adonalsium. (The Voice from Warbreaker is another Shard.)

Melhay

Is this "character" a common link between your books for religion or magical or maybe even both?

Brandon Sanderson

Adonalsium has to do with the Cosmere, which is the word Realmatic philosophers use to refer to the greater universe of the Shardworlds. It's hard to separate religion, magic, science, and society in most of these worlds. So "both" is a good guess.

Melhay

I was curious because he just seemed to appear and nothing further on him/it. Thank you for mentioning that he is in these two other books, I will have to look for hints of him.

Brandon Sanderson

The word Adonalsium (or, well, the miss-spelling of it) appears in only one of the books. Other clues and links between the books can be found as well. (Some people on my forums have spotted some of them. Others have gone unspotted so far.)

Questioner

Is Jasnah's book going to be one of the backstories?

Brandon Sanderson

It is.

Questioner

Yessssss. Favorite character.

Brandon Sanderson

She's on the back five.

Brandon Sanderson

Alcatraz's Self-Awareness

The biggest change to this chapter was one I couldn’t talk about above. You see, in the original version of this book, Alcatraz was far more self-aware of the fact that he was intentionally driving his foster families away. In this chapter, he saw it as a game. Originally, he didn’t burn down the kitchen by accident–he did it on purpose to get the parents to send him away. He did this because the first few families sent him away after he got attached to him. So his goal with later foster parents was to push them away first before they could do it to him.

Getting rid of this knowledge was one of the very first things that Anica suggested. You see, Alcatraz has such a great chance for character growth and revelation later on, when he’s in the prison, that having him be aware of what he was doing the whole time undermined what could have been a great scene.

I agreed with this immediately, since I’d been thinking of doing the same cut. The edited manuscript, then, has him accidentally setting the drapes on fire, then not caring about it. I think that gives me a nice balance.

However, the broken smoke alarm here is a reminder of the original draft. I left it in, implying that Alcatraz does partially know what he’s doing, even if he won’t admit it to himself. He broke the smoke alarm because he knew that by fixing dinner, he would likely start a fire. Grandpa Smedry hints at this later.

Yeti Stomper

All of your fantasy worlds exist in the same universe and share linked magic systems and at least one character. Can you speak to the overall vision of this shared Hoidverse? Why not create separate worlds?

Brandon Sanderson

I started doing this early in my career before I got published, when I felt that writing sequels was not a good use of my time. Just look at the hypothetical; if I’m trying to get published and I write three books in the same, if an editor rejects book one, he or she is not going to want to see book two. But if an editor rejects book one but is optimistic about my writing, I can send them a book from another series and they can look at that.

During my unpublished days I wrote thirteen books, only one of which was a sequel. So I had twelve new worlds, or at least twelve new books—some of them were reexaminations of worlds. But I wanted to be writing big epics. This is what I always wanted to do; something like the Wheel of Time. So I began plotting a large, massive series where all these books were connected, so I could kind of “stealth” have a large series without the editors knowing I was sending them books from the same series. It was mostly just a thing for me, to help me do the writing I wanted to be doing. And then when publication came I continued to do that, and told the story behind the story.

Why not do separate worlds? Because it was more interesting for me this way. This is the story I want to tell. The big, overarching story that I’ve planned out. I’ve been talking recently about how my inspiration for this is the idea that in science people have for a long time been looking for a unified theory of physics, some theory that will explain all interactions of physics in a concise way. I wanted to tell about a universe where there was a unified theory of magic, where magic worked according to a unifying principle. Despite the magic systems looking very different and doing lots of different and interesting things, hopefully original for each book, there is an underlying rationale that is keeping them all together. I write what I find interesting, and that was interesting to me.

Questioner

(...) like Hoid saying he got his life as words on a page.

Brandon Sanderson

It can be taken both ways, but it is actually literal. I'm not sure how much I can say about this, but... Let's say that it's referencing where he got his nickname/pseudonym.

Questioner

I thought he maybe stole a character from a book and (hid himself? indistinctive...)

Brandon Sanderson

It is something like that. People think it's like a big wink breaking the 4th wall, but at the time I was just looking back at his past and wanted something I could say that is esoteric and referenced his past.

Questioner

What’s the status of the second book of the Stormlight Archive?

Brandon Sanderson

I will be going right into that as soon as I finish A Memory of Light. I have it outlined, I have decided whose book it will be, each of the Stormlight books will have a focal character who gets flashbacks. It’s going to be Shallan’s book. So the first major cycle of the Stormlight Archive is looking like it’s going to be Kaladin, Shallan, Szeth, Navani, and Dalinar as the five book arc. And if you haven’t heard, I’m doing it in two 5-book arcs, so the first 5 books should wrap a lot of things up and whatnot. And I might even stop then and do like an Elantris sequel and things like that, and then start the second 5-book arc. So I will do that immediately, I’m actually planning to do that and have it out, it probably won’t be next year, it’ll probably be the following spring, but it’s a little over a year away. I’ve got it all outlined, so it should be...I’ve done a lot of work on it, I just haven’t written it.

DrogaKrolow

Where the hell in Warbreaker is the Terris lady?

Brandon Sanderson

Hehehe. Do you have any guesses?

DrogaKrolow

Nurses. One of them.

Brandon Sanderson

*pauses* Why do you guess that?

DrogaKrolow

I don't know.

Brandon Sanderson

That's a pretty good guess.

DrogaKrolow

I mean they are the only females apart from the main characters who are somehow important. So I guess somewhere there because I don't think she's like in the fifth plane somewhere in the back of the alley where someone walks by.

Brandon Sanderson

That’s a very good guess. I guess you have narrowed down your options. Um, yeah… um...so… I’m just gonna say that’s a ththth-- the-- he seems-- Yeah. So, there you go. I'm surprised...

...You’re not supposed to be able to guess who the Terriswoman is, by the way.

DrogaKrolow

So we will see her somewhere else?

Brandon Sanderson

Yes, you will see her somewhere else. Yeah, you're not supposed to be able to guess. So that's why I'm surprised.

Werthead

Brandon Sanderson and J. Michael Straczynski co-developing an original urban fantasy TV series for the USA Network

Brandon Sanderson

This is Dark One, the story I've talked about for years--and which I think I finally cracked open how to do a few summers ago. I wrote what I think is a pretty solid outline, but it was obvious to me it was paced more like a television show than a novel, so I went hunting some partners.

Basic premise is that a guy from our world finds out that a fantasy world has prophesied he'll become the next Dark One of their world, so they decide to assassinate him before that can happen. It's been fun to work with Joe; he's quite the character. We did pitches for this early in the spring, and got some good reactions and some nibbles from Hollywood. That's about all I can say right now, unfortunately, but hopefully Joe will be writing up a pilot soon and we can see where that takes us.

Brandon Sanderson

As we get ready for the release of The Alloy of Law, I find myself wondering what the teenage me would think of what I’m doing in this book.  You see, I became a fantasy addict when I was about fourteen, and one of my mantras quickly became, “If it has guns, it’s not good fantasy.”

Now here I am, adding guns to my most successful fantasy series.

Despite the ways I’ve changed over the years, despite my belief that fantasy should be (and is becoming) something more than the standard “guy living in idealized chivalrous England leaves his farm and saves the world,” a voice inside of me is screaming that nobody will buy this book.  Because it has guns.

I don’t believe that voice, but I think it says something interesting about me and others like me.  Perhaps we fantasy readers sometimes mix up correlation and causation in our fantasy novels.  In fact, I’m more and more convinced that taste for a specific genre or medium is often built on shaky ground.

An example may help.  I have a friend who once claimed he loved anime.

Over the years, he consistently found anime shows superior to what he found on television.  But as he started to find more and more anime, he told me that he discovered something.  He liked the anime he’d seen at first because these were the shows that were successful and well made, the ones with the quality or broad appeal to make the jump across cultures.  He found that he didn’t like all anime—he only liked good anime.  Sure, the medium had something important to do with it—but his enjoyment came more from the quality of his sample than the entire medium.

Likewise, I’ve come to find that what I enjoy is a good story.  Genre can enhance this—I’m probably going to like a good fantasy more than a good thriller or romance because worldbuilding and magic appeals to me.  In the end, however, it isn’t the lack of guns (as my young self assumed) that draws me to fantasy stories.  It’s the care for setting, pacing, and character development.

This is actually a correlation/causation fallacy, and I wonder if I’m the only one to have made it.  Many of the books in the fantasy section we love (perhaps because of the setting attention or the types of writers attracted to fantasy and SF) have dragons.  Do we therefore make the assumption that we only like books with dragons?  These two things (the dragons and our enjoyment) are parallel to, but not completely responsible for one another.

On the other hand, maybe I just think about this kind of thing too much.

Either way, I present to you The Alloy of Law.  A look at the Mistborn world several hundred years after the events of the original trilogy, where the industrial revolution has finally hit and knowledge of gunpowder is no longer suppressed.  That means guns.  Lots of guns.  And magic too.

The young me might have been horrified, but the thirtysomething me finds the mix to be exciting, particularly in a world where the magic is directly related to metal

Brandon Sanderson (paraphrased)

First question is about a joke - writing a book with Rothfuss with competing teams of characters, giving it to GRRM for the ending - sounds like it probably won't happen but both Sanderson and Rothfuss have apparently joked about it.

Brandon Sanderson

*discussion fades in* ...I doubt they would come to regret that. It depends on your threshold for characters with depression but--

Questioner

They haven't minded that so far. That's not an issue. I think they just want to make sure he doesn't end up leading the Voidbringers or something.

Brandon Sanderson

Yeah I think you'll be okay.

Questioner

Does Vasher want Nightblood back?

Brandon Sanderson

Vasher feels responsible for Nightblood

Questioner

is there any reason why he didn't go by Vasher, as well?

Brandon Sanderson

Because in the original draft he was, and I'm like, "That's just too easy." Plus he's kinda trying to hide, so he's not as foolhardy as a certain other character who goes willy-nilly by the same aliases over and over again and doesn't care. Picking an alias, if you know people would potentially would be hunting for you, having them not be able to ask for you by name is useful.

Brandon Sanderson

Chapter Ten

Are you annoyed with me yet?

This beginning is exactly what I like about the form of this book. Here, I can go on and on about how you shouldn’t separate readers from the payoff of cliffhangers–all the while keeping you from getting the payoff of the cliffhanger at the end of the previous chapter.

This whole theme started with that first line, and my desire not to get right back to Alcatraz on the altar. As I thought about it, I realized there were a lot of ways I could play with the form of a fantasy novel–or any novel–while at the same time following that form. This became almost as fun for me as character or setting.

Iceblade44

So White Sand [then Elantris] is earlier... Then how the heck old is Khriss then? Will we ever get an answer as to why every worldhopper is flippin' immortal?

Brandon Sanderson

There is some time-dilation going on. I'll explain it eventually; we're almost to the point where I can start talking about that. Suffice it to say that there's a mix of both actual slowing of the aging process and relative time going on, depending on the individual. Very few are actually immortal.

Faera

Implying that some are actually immortal? :D

Brandon Sanderson

Depends on which definition of immortal you mean.

Doesn't age, but can be killed by conventional means. (You've seen some of these in the cosmere, but I'll leave you to discuss who.)

Heals from wounds, but still ages. (Knights Radiant with Stormlight are like this.)

Reborn when killed. (The Heralds.)

Doesn't age and can heal, but dependent upon magic to stay this way, and so have distinct weakness to be exploited. (The Lord Ruler, among others.)

Hive beings who are constantly losing individual members, but maintaining a persistent personality spread across all of them, immortal in that as long as too much of the hive isn't wiped out, the personality can persist. (The Sleepless.)

Bits of sapient magic, eternal and endless, though the personality can be "destroyed" in specific ways. (Seons. Spren. Nightblood. Cognitive Shadows, like a certain character from Scadrial.)

Shards (Really just a supercharged version of the previous category.)

And then, of course, there's Hoid. I'm not going to say which category, if any, he's in.

Some of these blend together--the Heralds, for example, are technically a variety of Cognitive Shadow. I'm not saying each of these categories above are distinct, intended to be the end-all definitions. They're off the cuff groupings I made to explain a point: immortality is a theme of the cosmere works--which, at their core, are experiments on what happens when men are given the power of deity.

Shagomir

Heals from wounds, but still ages.

Would Bloodmaker Ferrings exist in this category as well? If not, what about someone Compounding Gold?

Brandon Sanderson

Yes, you are correct.

Shagomir

As a Bloodmaker ages, what keeps them from healing the damage and carrying on as a very old, but very healthy person? Do they come to a point where they can't store enough health to stave off the aches, pains, diseases, and other things that come with old age?

This makes sense for traditional Feruchemy as it is end-neutral, so storing health becomes a zero sum game - eventually, you're going to get sick and you're not going to be able to overcome it with your natural healing ability no matter how much you manipulate it with a goldmind.

...Unless you've got a supply of Identity-less goldminds lying around. Would a Bloodmaker with a sufficient source of Identity-less goldminds (or the ability to compound, thus bypassing the end-neutral part of Feruchemy) eventually just die from being too old?

Brandon Sanderson

Basically, yes. They can heal their body to match their spiritual ideal, but some things (like some genetic diseases, and age-related illnesses) are seen as part of the ideal. Depends on several factors.

SmilesUndSunshine

Have you ever drawn a illustration of a character that is raising his/her eyebrow?

Ben McSweeney

You better believe it. I've caught myself drawing Dreamworks Face on a number of occasions. It's a very versatile expression that exaggerates easily, but I'll admit it's pretty beat to death.

Brandon Sanderson

Magic System Focus

I've mentioned before that, in my mind, each of the three books has a focus on one of the three magic systems. Book one introduced Allomancy. And in book two, Sazed became a viewpoint character, and his story is very important to that book. Through him, we see Feruchemy work.

We will, of course, see lots more Feruchemy and Allomancy in this book. However, we also add Marsh to introduce us to Hemalurgy. The secrets behind how this magic system works are a major focus of the plot of this volume, as they explain to us how Ruin and Preservation operate.

Brandon Sanderson

One of the challenges of writing a series is to make certain the reader is satisfied with the book they buy, even though it's part of a larger story. Readers seem to have a love/hate relationship with the series, at least in our genre. Stand alone books, as a rule of thumb, do not sell as well as series books. Mistborn outsold Elantris and Warbreaker, as an example, and the Wheel of Time books did not start reaching the top of the bestseller charts until the series was at its eighth or ninth volume.

And yet, the longer a series goes, the less pleased readers seem to be with it. If one looks at most series and compare reader reviews on something like Goodreads, the longer the series goes, the worse the reviews tend to get. It has happened for nearly every major fantasy series. (Pratchett is a shining exception.)

Is this because the writing is getting worse? That might be the cynical response. There are a number of complaints leveled against the longer series. That the author is getting lazy, or that they're so popular now they no longer get the editing they once did. Some critics think that series degradation happens because the author starts milking them—writing more in the series simply because they sell well.

I wonder if it's something else, however. Not a failing on the author's part, but a natural evolution based on the form of the series. Readers seem to want continuing characters and plotlines, but along with those come the need to juggle various sub-plots/storylines, and keep track of them across books. The cliffhanger endings that are really more "Hey, here's what we'll be dealing with in the next book" are another aspect of the series. I agree, true cliffhangers stink. But it feels very natural to have a section at the end of a book introducing some of the elements from the next book. This ties the series together.

But it's also something that could make readers gripe. (Especially if they have to wait another year or more to read what you're teasing them with.) Anyway, I love series. I love writing them and reading them. But I also like a nice stand alone for flavor now and then. (Which is why I'll continue to do them, regardless of sales comparisons.) However, it is interesting to me that the nature of the beast is such that the more you write in a world, the more people will simultaneously praise you and complain about that fact.

Brandon Sanderson

Part Four Wrap-up

Oo. I can't wait to see what happens next!

Actually, the section breaks mean a lot to me in this book. They divide the novel in my mind, as opposed to Elantris, which was divided by viewpoint and not by section of the book.

Often, when I write novels, I plan sections around climactic scenes which leave the characters changed. That's why this story broke in such places as when Vin nearly got killed, or when Kelsier really did get killed. In this book, they sometimes mark the passage of time as well—that happened with the first couple.

It's kind of an odd thing that I do, but often in my books I will have a "section" that is simply the climax. That's the way it is with this book; part four was the lead up to the climax. Part five is, essentially, one big long climax. The Brandon Avalanche, so to speak.

So, why is it like this? Why have a short "section" at the end that is the climax, rather than just having part four continue on to the end? It has to do with how I write books.

A novel has to be divided into chunks for me to work on it. I divide it in my brain by section, then plot those section separately. Often times, the climax—on my plot outline—is it's own section. That's because the division in my head requires the section before it to be set up. Then, the set up is finished, and I can move on to the pay off.

And so, that’s what you get now. The pay off. Hope you enjoy it.

Brandon Sanderson

Chapter Twenty-Eight

Vivenna Drinks Juice at an Outdoor Restaurant and Plans the Meeting with the Idrian Leaders in the City

Here we have Vivenna showing off her end of the reversal quite well. This is one of the few places where I have a character point out the reversal taking place. Vivenna has learned to blend into Hallandren—she's learned not to judge quite so much. She's still not where she needs to be, but the transformation is happening.

The conversation she has with Denth, where he discusses every man seeing himself as a hero in his own story, is a kind of subtheme for this book. In this novel, everyone does think they're doing what's best. The only exception to that is, perhaps, Denth himself—which makes the conversation particularly poignant.

This is one of the very first conversations I imagined for this book, as I knew it would be very important to a later one, where Vivenna talks to Vasher. And that particular conversation might just have been the first I came up with.

Kabsal

Huh. It seems a proto-Shallan did already exist as of this version [Way of Kings Prime]. I thought with the prologue's discussions of House Davar that Shallan would have been a more recent development.

Peter Ahlstrom

Brandon sees Shinri and Shallan as entirely different people who have the same last name and are both Jasnah's ward. However, most of the other characters are the same people as they are in the published novel.

argau

I was delighted to read in the forward to Arcanum Unbounded that the Cosmere was inspired by Isaac Asimov’s Robots/Foundation universe. Elijah, Daneel, Hari, and Dors are some of my favorite characters ever, but I was horribly disappointed by Foundation and Earth, our de facto endpoint for the series. Since you were so kind as to step in and finish Wheel of Time after Robert Jordan’s death, have you ever considered writing anything in the Robots/Foundation universe to bring us to a more satisfying ending?

Brandon Sanderson

Though I too had mixed feelings about Foundation and Earth, I have come around on it over the years--and like a lot of things about it. The ultimate evolution and implementation of the three laws being one of them.

I think every fan of the series has to come to terms with the differences between the two eras of Asimov's writing life, and the different themes of the two different "halves" of the Foundation series. Though I do prefer the tight early narratives, I can appreciate the more philosophical approach of the late narratives.

I could see myself contributing to a themed anthology of Asimov-inspired or in universe stories, should one happen. But I don't ever see myself doing anything like you mention, in part because Asimov had collaborators he worked with that have already been doing things like continue his legacy--and who are much better suited to it.

Questioner

Will The Alloy of Law be a trilogy of its own or is it just going to be the one book you read from tonight?

Brandon Sanderson

Well, the 1st one was The Alloy of Law, the one I read from tonight is the sequel, so there's at least two. I signed a contract with, well, I haven'’t signed anything yet. I offered Tor two more beyond The Alloy of Law; so, Shadows of Self and one more. So, I have promised Tor three of them.

Questioner

So, there could be more?

Brandon Sanderson

I have not plotted this one. It does not have the same sort of interconnected arc as the others. It could go further. I think I would cautiously most likely do three or four and stop and if I wanted more short books like that, I'd pick different characters in a different location.

Brandon Sanderson

Sazed and Tindwyl discuss the Deepness

When it says that "Sazed was the one who presented Tindwyl with the accumulated knowledge of the Keepers gathered while she was gone" that's a lot more involved than you might think. It included him reciting to Tindwyl hundreds of hours worth of information, the two of them sitting there, him speaking, her memorizing. It took them months, during which time they really got to know each other well. I think that's probably when he first started to have feelings for her.

I've worried about the romance between them, and not just because of Sazed's nature as a eunuch. Tindwyl isn't presented as the most sympathetic character in the series, yet Sazed is one of the most likable. I worry that readers won't be able to see to the depth of their affection for one another. I didn't originally intend to give Sazed a romance in this series, but when I was working through book two, I saw how many things it would help facilitate. You'll see what I mean later on.

By the way, you should recognize Tindwyl's line about making "occasional exceptions." That's virtually the same language she used with Elend when suggesting that it was okay for him to have a romance with Vin. That was the first hint I seeded that Tindwyl might have a soft spot for romance, and be willing to overlook some of her strict rules if love was involved. In truth, if Tindwyl were going to admit her real feelings to herself, she didn't come to the city for Elend. She came hoping–yet dreading–that she'd find Sazed there.

Stormlightning

*Written on a sticky note* Is there a connection between the characters who have large purple birthmarks?

Brandon Sanderson

I do not have any significance to it right now, no.

Daily Dragon

Your new epic fantasy series, The Stormlight Archive, has been in the works forquite some time. In an interview earlier this year with Fantasy-Faction.com, you said that you set the project aside in 2003 because you needed to "get better as a writer." During the interim, as you worked on other projects such as the Mistborn trilogy, Warbreaker, and your middle-grade Alcatraz series, which skills did you improve the most?

Brandon Sanderson

I would say that I learned to juggle multiple characters a lot better. That's one of the places where I needed to grow, and it's one of the aspects where the original Way of Kings that I wrote in 2002 flopped. I wasn't good at juggling all these viewpoints. Working on The Wheel of Time really forced me to learn that, and I think I've gotten much better at it. I've also learned to be more subtle with my writing; Robert Jordan was incredibly subtle in his foreshadowing. Going through his notes and rereading the books and seeing how he set up things for many books later, it impressed me quite a bit that he was able to do that. I think I've been able to learn from that.

Brandon Sanderson

Dilaf

I really wanted to bring these Dilaf scenes in and make them personal. That was my prime reasoning behind sending Sarene with him. I wanted the reader to care, and I wanted Hrathen to care–which, hopefully, would make the reader care even more.

Dilaf was very interesting to write as an antagonist. By the time he finally came to his own, I didn't have to worry about developing him as a viable threat. His personality through the entire novel had prepared the reader for the awful moment when he finally got the other characters into his power. And, because Hrathen was so sympathetic a villain through the entire novel, I think I can make Dilaf more raw and unapproachable. It's nice to have sympathetic villains, but with Hrathen in the book, I didn't feel that I needed much sympathy for Dilaf. Also, with one such well-drawn villain, I felt that if I tried to do the same with Dilaf, the comparison would make him come off very poorly. So, I went the other direction, and the contrast gives the readers someone that they can just hate.

If they didn't hate him already, then this last scene with Sarene was meant to push them over the edge. Here is a man who kills for pleasure. No matter how wronged he was in the past, he has no justification for the cruelty and enjoyment he displays in anticipating Sarene's death. This is an evil man.

Zenith

Are spren Cognitive aspects?

Brandon Sanderson

:) You guys are figuring this all out pretty well. I want to hold off on talking much about the nature of the spren because the characters in-world are discovering this as the books progress.

Questioner

I was gonna ask you for advice on writer's block.

Brandon Sanderson

Advice on writer's block, all right. My experience is that with writer's block, write anyway. Even though you don't feel like it ,you will write yourself through the writer's block nine out of ten times. And if you don't know what to write, that's not a problem. The way to get out of writer's block is to start your subconscious thinking about it. So, if you like to say, "Ninjas are attacking." Just do something. Write it the wrong way first. A lot of newer writers have a lot of trouble with writing something that's not gonna end up in a book, when they know it's broken. But if you write it anyway, your subconscious will be like, "Oh, what was wrong was, I had the wrong viewpoint for this." Or "Oh, I really need to be pushing from this character's motivations" or something. And if you just write this chapter poorly, you'll get that. And, one out of ten times, you'll do that, and you'll be like, "What was I worried about? This chapter turned out great! I should have had ninjas attack. This is how my book is now." Best thing is to do that, and kind of turn off your internal editor and just learn to go.

How do you get past writer's block, Isaac?

Isaac Stewart

How do I get past writer's block? Caffeine. What I have found is I just have to bully through it. Reread what I wrote before, think about things, maybe do some bullet points of what you've seen that came before that, where I wanna get. Sometimes I skip ahead and write a scene that I really want to write.

Brandon Sanderson

Yeah, that helps, too. Or saying, "Okay, the scene that I'm trying just isn't working, let's just put it in a completely new location that's exciting and interesting to me."

Isaac Stewart

If you have several different points of view, try a different point of view for that scene if that person's there.

Brandon Sanderson

And if it's the "I don't know what to write at all" writer's block, then just do something silly and goofy, 'cause you're practicing your skills, right. If a pianist doesn't know what to compose, they'll just sit down and play something to get themselves going.

Brandon Sanderson

Chapter Fifty-Two

This Book's Epigraphs

The epigraphs from this book are quite a bit different from the ones in the previous two volumes. These are a much more scientific, and—unlike the first two sets—are not from the past, but from the future. (Though, like the other two, they're from a written record that eventually does appear in the novel.)

This is intentional. In the other two books, the epigraphs were intended to fill out the mythology of the world. By having them come from the past, I was able to add a weight of history to the story that would otherwise have been missing, as the characters weren't focusing much on those kinds of things. In this book, however, I felt that digging up yet another ancient record would be repetitious. I wanted to do something new, something that would add to the tone of this novel.

And, since the book is about the end of the world, I figured that someone looking back on events and writing about them would give just the right mixture of mystery (Who is it?) tension (Does the world actually end? How can it, if someone survives to write?) and information. These epigraphs, then, are meant to answer questions and fill out the setting of the world in a different way from the other two.

I do worry that they're too scientific for the feel of the book. I like my books to feel like fantasy, but I really walk the line with how technical my explanations of the magic can feel. Overall, in my books I generally shoot for more of a Renaissance or early industrial revolution feel than a classical medieval feel.

Mad Hatter

Terry Brooks recently said he'll be doing more Shannara books and that he wishes he didn't use the title The Elfstones of Shannara already since his new arc is basically all about the Elfstones. Did your reticence to titling The Gathering Storm as such have anything to do with The Stormlight Archive? The Gathering Storm certainly seems like a perfect title for a book in the series.

Brandon Sanderson

Yeah. I didn’t choose The Gathering Storm. If you know the story, it all happened while I was asleep, and they said this was the title they were going to use. There were a couple of reasons. Number one, I knew I was releasing a book soon afterward that was in a series called The Stormlight Archive. Perhaps I pay a little too much attention to making sure that I don’t feel like I’m repeating myself. Kaladin in The Way of Kings was originally named Merin, and one reason I changed his name was because it sounded too much like Perrin. He had been Merin for eight years or so, but when I was just a Wheel of Time fan, it was okay to have a name that sounded a little like a Wheel of Time character’s. But now I may be a little hypersensitive to that.

Honestly, the greatest reason I might have preferred The Gathering Storm to have a different title is that I felt it was just a little bit generic, more so than recent titles in the series have been. Recent Wheel of Time titles have been beautiful; I love Crossroads of Twilight as a title, for example. But The Gathering Storm is a good title for a lot of other reasons, and it works very well for the first of that sequence. So I was satisfied with it even though it wasn’t the title I would have chosen.

Swamp-Spirit

When you're writing YA do you ever feel-- Because I was feeling this while reading the Alcatraz novels-- Do you ever feel like you're limited in what you can explore by not wanting to go too dark or too complex for a certain audience? Or when you are writing that sort of story does that not really...

Brandon Sanderson

Complexity does not enter into it, for me, except for the fact that I generally focus on one character. And so there is a complexity issue there, in that, you know, it's like I'm doing one, maybe two, viewpoints. And I think it's basically coming because when I'm choosing a story I'm matching a story to an age, I'm not matching an age to a story, does that make sense? So when I say "this is a YA story" that's because it exhibits the sorts of things I want to tell-- exhibits the sort of things that work for that market. I don't tend to write down but I do tend to keep the number of viewpoints more limited, just to keep the books a little less thick. So yeah, yes but not really.

Stonecrushinglizard

In a blog you recommended Rothfuss and after reading his books I have decide you are truely a god of the written word, oh great God, recommend other good reads, I will happily pay the required sacrifice of one greedily consumed chocolate cake.

Brandon Sanderson

Ha. Well, it depends on what you like.

Guy Gavrial Kay is very, very good. Read his newer work, or his classic stand-alones (like Tigana or the Lions of Al Rassan.) Don't start with his first few novels.

He's a little more literary than myself or Pat, but he sure can turn a beautiful phrase, and is one of those authors that seems to be able to do it all--storytelling, prose, character, humor, drama. N.K. Jemisin is another author who has been doing very beautiful writing lately, with solid plots, who could give Pat a run for his money.

For things that skew a little more adventure, I love Robin Hobb's work, and if you liked Mistborn, I think you'll like her books. Start with Assassin's Apprentice. Same goes for Brian McClellan and Brent Weeks.

I really liked Naomi Novik's Uprooted, which is a Hugo nominee this year. But it's very different from the ones I just listed. A dark fairy tale with historical roots.

Snote85

Also, funny question, what happened Nacomb Gaval, the soldier that Kaladin gave a field commission to during the Battle of the Tower? Did Dalinar let him keep his new rank? How does he feel about Kaladin after those events? He is obviously a minor character but I feel like he would be a good friend to Kal if the need ever arose for them to interact. [...]

Brandon Sanderson

[...] As for your question, yes, Dalinar let him keep his rank. (He earned it.)

Questioner

Is the Warbreaker sequel gonna have Susebron and Siri?

Brandon Sanderson

It's Vivenna and Vasher. And new characters. You'll get an update in it, if I ever do it, what's going on, but it won't be focused on them.

Nathan Morris

Do you plan on writing any other books that feature allomancy?

Brandon Sanderson

It's possible. When I write a series, I imagine it in my head as a certain length, and I generally keep to it. But that doesn't mean that I won't revisit the world for new stories. The story of the characters in the Mistborn books is done; the trilogy is finished. If I were going to write more in this world, I would either go forward in time or backward in time, which unfortunately makes it so I'm not as likely to write one. Not that I would be opposed to approaching the Mistborn world in a new way and telling a series of new stories—there were still some holes in allomancy by the end of the books which were intentionally left there in case I did want to revisit it. So, it's definitely possible. But with The Wheel of Time on my plate, I can't promise when or if it will ever happen.

Argent

Have you planned out the interludes for Book #3, and if so - any returning characters? Share one?

Brandon Sanderson

Yes, I have. Taravangian will be one, unless I move it to an actual chapter. We'll have to see how things play out.

Andrew

Can [you] tell [us] when [we] will see Cohesion and Tension Surges? Will [we] see it in Stormlight 3?

Brandon Sanderson

You are unlikely to see very much of it at Stormlight 3. That is dealing more with characters on the, in the back five, but you will probably see a little bit of it.

Questioner

Do you care if all we read is audiobooks? Do you mind if people are like [???]

Brandon Sanderson

No I don't mind. Whatever format you want to read in. I would love for them to-- Whatever you like to read in is the best. People sometimes say to me "Well do you make money if I do this or this?" And the true answer is "Both" but-- *laughter* The honest answer is I don't mind. Check them out from the library, buy a copy here, borrow it from a friend. If you read my fiction, more people will be talking about it, and more people will be interested in it. And that is going to generate momentum for me. So pick your favorite format and your favorite place to get it, whether it is Cousin Billy or whether it is buying it from UBooks, and read the books. I'm just glad people are reading my fiction.

I mean I spent-- I wrote thirteen books before I sold one guys. That's how much I like doing this. I wrote over a dozen of them when no one was paying me to do it, right? And now that people actually are, it's just like so cool to be able to have things like the cosmere come together and everybody really be in on this thing. If you don't know a lot of my books are connected. There are characters from different books showing up in each other's books and fiddling with things and stuff.

Questioner

Was there a character where you just had a really hard time doing a bad thing to?

Brandon Sanderson

No, that doesn't really happen to me. I've got it all planned out ahead of time, so I'm well prepared for it.

Questioner

You mentioned RPGs, what's your favorite RPG?

Brandon Sanderson

Final Fantasy X *audience cheers* I love that one. Like a lot of the Final Fantasies didn't make any sense, and it's okay that they don't make any sense, but that one actually really made sense to me and it really worked. I like that they have-- Like it has a character who's not dark and broody? *laughter* For the first time ever? It's kind of a jock. He's just-- He's just a happy-go-lucky jock who gets caught up in saving the world and it was such a fresh-- Fresh of breath air? It was such a fresh of breath air. *laughter* But yeah. Pen and paper, I grew up playing the Palladium. A lot of Palladium, so TMNT was my introduction to pen and paper RPGs.

Brandon Sanderson

Chapter Fourteen

Spook Enters the Stage

And so, here we have our first Spook chapter. When I wrote these books, I'd been planning Spook's sections for quite some time and was very excited to write them. As I said earlier, I wrote them all together, like a mini-novel of their own, then interwove them with the Vin/Elend sections and the TenSoon sections.

Spook has always been a personal favorite of mine. His silly nonsense of a language from the first book was a lot of fun, and even then I began planning what I could do with him were I to make him a viewpoint character. The first thing I had to do was, unfortunately, get rid of the dialect—it annoyed too many people, and it just wasn't comprehensible enough.

The second thing I had to do was give him conflict. Clubs's death, and Spook's absence during the Siege of Luthadel, gave me a large chunk of that. But from there I needed more—and I wanted to do something different with Allomancy for him. Hence the idea of the tin savant, a person who has burned and flared tin so much that it has changed his body.

We'll get a lot more on this as the book progresses. However, my feeling has been that these novels have focused too much on the powerful and the very capable. I love Vin's and Elend's scenes, but we needed something from someone a little bit lower on the power scale. I wanted to do these Spook sections to show someone more average, someone most readers usually ignored, doing amazing things.

Originally, I wrote Spook a little bit more unhinged. He was cocky in his new powers to the point of being a little too off-putting. During the final revision—the one where I added Sazed's studies of the religions—I backed off on Spook's intensity in these first few chapters from his viewpoint, trying to make him a little more sympathetic and a little more trustworthy.

Yes, he's done serious damage to his body by ignoring the advice not to flare his metal too much. (See book one where Kelsier gives this same advice to Vin.) However, he now recognizes what he's done and explains why he's doing it.

Other than that, this is another setup chapter reintroducing us to Spook, giving us his motivations and place in the book, and showing off his magic a little. The next chapter from his viewpoint has a lot more going on.

Questioner

Who has been your favorite character to write so far?

Brandon Sanderson

It's hard to say, they're all like my children. I often default to Wayne, because he's a blast.