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learhpa

> I could easily have had an entire book with a major thread about toppling her [Ialai's] little empire on the Shattered Plains, but that would have been too backward looking.

I dunno. I think that could be fun. I'm somewhat imagining a John-Wick-alike character whose job is to take Ialai down and it turning into a surreal action/adventure/spy story.

Brandon Sanderson

I absolutely think this could have worked in a different narrative. But in this book, with so much of the focus moving to the greater war and the invasion, I feel that spending a lot of pages on recovering the Shattered Plains (and dealing with a group in the Sons of Honor that have been repeatedly defeated already) would just feel anticlimactic.

A different style of narrative could have pivoted to political intrigue instead of war epic after the first book or so, and then this sort of plot would have been exciting and dynamic. It's all about scope and the subgenre of your narrative.

Brandon Sanderson (paraphrased)

Were Odium to shatter Harmony, we would NOT get Ruin and Preservation back but instead would get smaller pieces.

Questioner

How hard is it to write about the death of a character? Like when you wrote about Kelsier, and Vin had to go through the aftermath--

Brandon Sanderson

It's, to me, pretty hard. The thing is, it's harder for me in the planning because by the time I reach it in the books I'm usually well-prepped for it because I'm an outliner so I know before I start. It's not like in the moment. Once in awhile, I'll have to go and rebuild the outline, y'know, this person has to not make it but usually I know it very early on. But it can be hard, for sure. But it helps like, that I know their whole life, you know what I mean? I don't just get the glimpse of the story, I know everything about them. And you do know that there are hints of Kelsier in Book 3 Mistborn, he was around doing some stuff.

simon_thekillerewok

The Song of Changes - just recently saw this WOB. Love the name personally, but what are your current thoughts? How likely do you think this is going to be Stormlight 4?

Brandon Sanderson

I think it's unlikely, but we'll see.

PaganButterChurner

Are you Kaladin? Which character do you most identify as?

Brandon Sanderson

I'm not Kaladin, and I'm certainly not Hoid. I'm probably closest in personality to Sazed or old Dalinar, but not really a match for either. Really, every character has some of me in them, but none are me.

Dan Wells

Sixth Epoch, Year 31, Palahesah 5.1.5.

Skybreakers

The Skybreakers are all about order. It's not just about rules, or laws, or whatever the current or local king declares is right (though some Skybreakers do go a bit too far in that direction if you ask me). It's about higher ideals of rightness, and concepts like justice and fairness, and like I said in the beginning, order. They sought to make the world the way it should be, and not the way that passing whims of power and money declare that it ought to be. Which, in practical terms, inevitably translates as, "The way that we, the Skybreakers, think it should be. Which is orderly."

In some situations, a Skybreaker is a ruler's best friend. They enforce that ruler's laws, which supports that ruler's vision and keeps peace in that ruler's realm. But a Skybreaker also believes that the law is universal, and should be applied equally to the highest members of society as well as the lowest. And this goes for everyone, up to and including the Radiant Orders and even the Heralds themselves. Nobody, in their view, should be untouchable. Even a king, maybe even a god, should be held accountable if they abuse their power and authority. Which sounds like a pretty good belief to have, I guess, until you ask who's going to stop the Skybreakers from abusing their authority. The answer is often nobody, or the other Orders, I guess, but that can get messy.

These attitudes, as you might expect, give the Skybreakers a bit of a stodgy reputation. Some of the other, looser Orders tend to see them as sticks in the mud, and free thinkers see them as outright dangerous. Revolutionaries see them as friends of the powerful, but the powerful see them as fickle friends who might turn on you if they disapprove of your choices. The only people who really love them, I guess, are the people who know they can count on them, people who need justice. And if you're the kind of person that downtrodden people know they can always rely on to defend the innocent and punish the guilty... well, that seems like a pretty good place to be.

Questioner

We want to know if Adolin is the hottest character.

Brandon Sanderson

If Adolin's the hottest character in the entire...?

Questioner

In the cosmere.

Brandon Sanderson

I don't know, Blushweaver's pretty hot. Adolin's pretty hot.

Questioner

I thought you might go with a Returned.

Brandon Sanderson

But the Returned are supernaturally hot, and Adolin is only naturally hot.

Questioner

With a Returned it's almost unfair.

Brandon Sanderson

It is unfair. If you're gonna go without any magical enhancements, Adolin's gonna be up there. He's got personality hotness and physical hotness, so yeah.

Brandon Sanderson

Alcatraz, My Boy!

Here we get Grandpa Smedry, introduced for the first time. As I believe I mentioned earlier, I wanted this book to be a subtle satire of some of the books on the market in fantasy. Not a full-blown satire, of course–I don’t tend to like books like that. They’re forgettable. Instead, I wanted something that had its own world, magic, characters, and story–but something that also occasionally took a subtle shot at the fantasy establishment (of which my other books are a part).

I love fantasy. However, what I loved about writing these books was that I could strip away some of the self-importance and seriousness. Standard epic fantasy, as a necessity of the genre, takes itself very seriously. These books don’t. That doesn’t mean that I don’t want the stories to have structural integrity or good storytelling; it just means that they can be a little more silly at times.

All of this leads to why I wrote Grandpa Smedry the way I did. I wanted a wise old mentor character. We’ve seen plenty of the type–Belgarath, Gandalf, Dumbledore. However, I wanted to make him a total spaz. Hence Grandpa Smedry, who’s a great Oculator and a very competent person–but who is also a complete spaz, and who is sometimes his own worst enemy.

His curses, by the way, are all the names of my favorite fantasy and science fiction authors. (In no particular order.) So, in this chapter he curses by Melanie Rawn’s name and Robin Hobb’s name, I believe. That’s only the beginning. [Assistant’s note: Terry Brooks and David Gemmell are also sworn by in this chapter.]

James Clifford

Science question!

Brandon Sanderson

Ohh science. Is it real science, or fake science?

Adam Horne

It is Brandon science.

Brandon Sanderson

Fake science!

James Clifford

With the discovery of anti-Investiture in Rhythm of War, would the correct form of anti-Investiture be usable to clear up the mess in the Sel Cognitive Realm. If so, would this completely destroy a splintered Shard?

Brandon Sanderson

*laughs, coughs, and is otherwise stunned* That would not be a good idea. So why would that not be a good idea? So no, this would not clear up the problem. The problem that's going on in the Cognitive Realm in Sel is that a bunch of Investiture that should be in the Spiritual Realm has been packed into the Cognitive Realm instead, through a very weird circumstance of events. If you were to introduce a bunch of anti-Investiture of the right type there, you would just generate an explosion that would be a very bad thing. Matter cannot be created or destroyed, Investiture can't be either, so it's actually changing forms. It's going from Investiture into energy! Which you know, does not leave the system. So the investiture would eventually make its way back around, you can't destroy anything in the Cosmere, just like you can't destroy anything in our universe. But you can make it change forms. And so, what's going on there is just this hope by a certain individual that what has happened there will prevent the power from becoming self-aware.

It's basically Odium being like "alright I just murdered you people, I don't wanna have to come back and do it again". So he's trying to figure out a way to make this happen. As it currently stands (again, these things can change when I write future books), it was partially happenstance that he took advantage of rather than something that he was able to set up very intentionally from the beginning, but he was definitely a part.

AhoyMatey (paraphrased)

Who’s Nahz? The person who retrieved Shallan’s notebook…

Brandon Sanderson (paraphrased)

You have seen him before.

vandar10

Could someone with enough Breaths use part of them to heal himself without the help of a Returned?? Could the God King have healed himself without Lightsong with enough knowledge?

Brandon Sanderson

The nature of the Warbreaker magic is tied to the shard of Endowment, which is about giving. There are, therefore, things you cannot do for yourself.

RobotAztec

For healing can Big Breaths heal only one person at a time or can you heal a bunch of people at once?(as long as they are not yourself)?

Brandon Sanderson

Legends say you can heal many.

Boogalyhu34

Is the mist creature, that was seen through out the second Mistborn book, Preservation/the mists version of the Stormfather, which seems to be related to Honor/Highstorms.

Brandon Sanderson

You are on the right track.

Boogalyhu34

The aforementioned mist being was called a "shadow of self" in one of the original 3 MB books. Does this have anything to do with a book of the same name? The Stormfather also called himself a "shadow" of what Honor was, does this support my above theory?

Brandon Sanderson

The Stormfather would use the same language.

Brandon Sanderson

Galladon

I like finally having a chance to characterize Galladon internally. My sense is that you can never really get to know a character until you can see their thoughts. So, I gave a nice little series of viewpoints to Galladon, partially to show what was happening to Raoden's body, partially so that I could have some last-minute introspection and philosophizing regarding what is happening in the chapters.

Galladon's hope monologue in this chapter is probably the most powerful, and most interesting, section he gets in the book. This piece is supposed to mimic what the reader is feeling–things are going terribly, but Raoden has always managed to pull out a miracle. He may look bad now, but he can still save them. Can't he?

I think Galladon is more pessimistic–naturally–than the reader will be. However, he raises good questions, and his talk about hope–how Raoden's gift to him is the inability to give up completely–is one final showing of the power Raoden's personality has in this book. Perhaps the most amazing thing Raoden does in this book–more difficult a task to overcome than the gangs, more rewarding than taking the throne of Arelon–is make a believer out of a man like Galladon. A man who had given up on hope, but who now continues to believe, even though all is lost.

Brandon Sanderson

Vivenna Visits Lemex

In the very early planning of this book, I intended Lemex to live. He was going to become a mentor figure for Vivenna, and have the very personality that she described him as having in her imagination. Spry, quick-witted, intelligent.

So I decided to kill him off.

Why? Well, it's complicated. On one hand, I felt that he was too much of a standard character from one of my books. The witty mentor is not only a stereotype of fantasy, but something I rely upon a lot in my writing. (Though, granted, many of those haven't been published—however, Grandpa Smedry from the Alcatraz books is a great example of this kind of character.)

I also felt that Lemex could too easily be a crutch for Vivenna in the same way that Mab could have been for Siri. The idea was to keep these sisters consistently out of their elements, to force them to stretch and grow.

Instead, I upped the competence of the mercenaries and decided to have them play a bigger part.

Brendan

In the beginning of Way of Kings, Szeth Lashes himself to the wall at the end of the corridor, turning it into something like a deep well, then he Lashes himself back to the floor. So is gravity not necessarily a thing in Roshar?

Brandon Sanderson

It is. It is indeed a thing in Roshar. A Lashing overrides gravity. This is kind of a weird thing that I built that honestly drives, I think, my continuity people a little crazy. Because the way that I work Lashings, I didn't always want to have to say that "you're lashing them upward one gravitational force and then in a direction at the same time"; basically, to negate gravity and then send them a direction. So I just said, "You know what? This is working kind of on a Spiritual Realm level, where it's overriding gravity's pull and kind of convincing the body it's being pulled in a different direction." That is kind of what the mechanics are doing. So when you Lash toward the end of the hallway (you Lash in a direction, usually), then gravity is overriden, and you are pulled in a specific direction instead.

What Szeth is doing there, when he's Lashing himself back downward, he could cancel the Lashing. But he just gets into this mindset... You'll see most of the characters do this. It's kind of functionally identical. But that they kind of, like... "Which direction is down" is not really important to the person while they are using their Lashings and where gravity would pull them. They just are gonna be precise and be like, "I'm gonna go that direction, there." And just kind of get in the mindset of working that way. So I would say that for someone using Lashings, gravity doesn't really matter; or it matters entirely too much.

Where building it that way has led us is, when you want someone to just hover, what do you do? How do you indicate someone is becoming weightless? By those mechanics, you use a half Lashing upward. So that you're still pulled down half as much by gravity, but you're pulled upward half as much. There are other ways you could achieve it, but that's how I often have people talk about it. So if you remember that a Lashing is overriding gravity, it's replacing it, it's not additive; then that helps a little bit with understanding how Lashings work. I still like it this way because it's a lot more elegant to describe. But when you break down the mechanics of it, it is a little bit harder to wrap your mind around.

karsen (paraphrased)

What is the difference between innate investiture and kinetic investiture?

Brandon Sanderson (paraphrased)

Kinetic investiture is energy/power that is being actively (currently) used. Innate investiture is when a person is a conduit to/from the Spiritual realm.

Brandon Sanderson

Marsh Vs. Sazed

But first we have the Marsh Sazed battle. I really like this scene, since I get to do something very new with it. Do you remember when I promised you that you'd see some cool interactions between Allomancy and Feruchemy?

I realized almost immediately, when designing Feruchemy, that I could do some very fun things with it mixing with Allomancy. With how much that Mistborn depend on their Steelpushes and Ironpulls, a person who can change his weight would have an enormous advantage. Everyone always says that Allomancy is the better combat skill, but that's just because the resource it uses–metal–is far more plentiful than the resource Feruchemy uses. Put the two into a battle together with enough power to spare, and the Feruchemist will almost always win.

At the end of this, Ham gets to do something. Makes me glad that I wrote him back into the story after forgetting about him. . . .

Oh, and that blow to the head was no slight blow–Sazed's actually wrong. That strike will lay Marsh out for some time. Remember what Ham said about two pewter burners canceling each other out? Well, you just had a very strong soldier flaring pewter hit a man who was simply burning it in the back of the head with a stick hard enough to break it. Marsh is out cold.

Brandon Sanderson

So, as I said, I felt that I needed to wait to make Elend a viewpoint character. There are several reasons for this. The primary one is that this book is really about Vin. Kelsier has some time, but really everything in this book is focused around its effect on Vin.

Elend couldn't come in as a viewpoint character earlier because I think he would have been distracting. I like him a lot as a character. However, by leaving his viewpoints out, I allow readers to wonder whether or not he's playing Vin. My writing groups responded quite well to Elend, having constant discussions about whether or not his motivations were pure. They could do this because they didn't know his mind, and I think that by letting them do this, they could grow more attached to Vin. After all, whether or not Elend's viewpoints were pure only mattered in relation to her.

But, finally, I decided to ease that tension and let the readers know that he really was the person they thought. This should come as a relief, which relief will quickly be destroyed by the worry I create in this chapter. (In short, I couldn't bring Elend in as a viewpoint until doing so twisted the plot more, rather than simply untwisting it.)

vandar10

Will we see in Nightblood why the returned base breath cannot be given away in the same way the other breath are given?? I'm referring to the fact that when a returned gives his breath the person who receive it don't reach any heightening but use it to heal instead of reaching the fifth heightening and healing anyway.

Brandon Sanderson

RAFO.

Brandon Sanderson

The next segment from my Tor proposal talks about a book some of you may have heard of: THE WAY OF KINGS. Originally, this was going to be the second book I published, but I’ve decided to put it off in favor of MISTBORN. The reasons are explained below.

This decision was met with a great deal of disappointment by some of the manuscript’s fans, but I really think it’s best for my career right now to delay KINGS. It’s a magnificent story, but it needs some more time before it’s ready for the general public.

—————

THE WAY OF KINGS (Book one of the Oathshards Series.)

KINGS was the book I was working on when Moshe first called me to buy ELANTRIS. While we were in contract negotiations, he asked to read a bit of my current work. I sent him KINGS, and he decided he wanted to purchase it as well. I don’t think, however, that he knew what he was getting into.

The OATHSHARDS is a massive war epic centering around ten angelic beings who have been driven insane—each in a slightly different way—by millennia spent protecting, fighting for, and dying for mankind. The first book, THE WAY OF KINGS, follows six separate viewpoint characters (one of them an immortal) during a time when the three peninsulas are thrown into a massive war. It is an intensive character piece coming in at over 300,000 words, and can be quite brutal with its characters.

It still does the things I do well—it has several original magic systems (though magic isn’t a focus in the first book.) It has a very interesting setting (which is one of its strong points) and has an array of interesting characters from all walks of life. (One a young peasant soldier, one a middle-aged sister to the king, one a battle-hardened nobleman general, one an honor-bound assassin serving an evil master, one a young lady-in-waiting, and the final one being an immortal protector of mankind who is slowly breaking beneath the pressure of his station.) The central theme of the book is that of leadership, and each of the six viewpoint characters are defined in one way or another by how they lead others.

KINGS has a lot going for it. It’s the kind of story that people remember—it has a grand scope, meaningful characters, and an expansive plot that would have to cover at least five books. However, I don’t know that it’s the best thing for my career right now. The book needs a lot of work before it could be published—at its current length, it would have to be cut into two pieces or slashed by a third in order to work. I also have to do some serious revisions to the plot. I like how all of the characters work, but I worry that the book is too slow (even for me) at the beginning as I establish six viewpoints and six separate plots. I need to find a way to combine some of the plotting so that several viewpoints can work on the same problems.

I think this series could really make an impact on the genre. However, it would take far more work than MISTBORN to get to a publishable level. Perhaps it would be best for me to publish a few books like MISTBORN or ELANTRIS before I do something this ambitious.

dce42

Since it seems like the sibling is more "dead" than sleeping, is the event that caused this to occur from a certain Bondsmith breaking Odium's surges from the Parsh?

Brandon Sanderson

RAFO!

dce42

Is it more of a 4/5 RAFO, or a 6-10 RAFO?

Brandon Sanderson

4/5 RAFO, I'd say.

Questioner

Is Moash intended to read as being interested in men?

Beyond some of the things he says, I relate a lot to his feeling of alienation even within his marginalized group, as a queer poc.

Brandon Sanderson

I wasn't intentionally coding Moash as queer - but that doesn't mean I didn't do it on accident. I see him as straight, personally, but having gone so far down a dark path he basically feels nothing anymore.

A. Worland

Whenever I write, I have all the inspiration and stuff to do so and I know what I want to write. But when I come back to what I have written the next day or so, that feeling of inspiration and satisfaction that I had when I was writing goes away and I feel unsatisfied with what I have written. I have great ideas that I think are great, but sometimes I don’t think they are great anymore. Often times I re-write it, but the situation is a continuous loop. Any advice?

Brandon Sanderson

This is a common sort of attitude, and you are not alone. Writers tend to fall into two camps, I’ve found. The people who think their writing is terrible while writing it, but then discover it’s not so bad afterward—and the people who think it’s great while writing it, but then look back and find it disappoints them. I don’t think either attitude is 100% correct, but I can understand both.

What I see happening here (as an off-the-cuff diagnosis not knowing you enough to do a detailed and specific one) is that your ability to see a perfect and wonderful book in your head is not yet matched by your actual writing skill. You’ve likely read a lot of books, and have developed a very discerning eye for what works and what doesn’t in fiction. You feel like you should be able to produce that great fiction, therefore.

But you’re like a person who has become an expert in tasting cheese—that doesn’t mean you can make your own. You have an advantage over someone else, but you still have to put in the work to learn the process of cheese making. Here, you’re comparing the perfect version of the book in your head (or, perhaps, the published books you’re reading) to the first draft, unpracticed work you’ve written.

The challenge here is to recognize your first draft doesn’t have to match a published finished draft. Beyond that, you’re going to grow a lot as a new writer as you finish your first few books—to the point that you will often be much better as a writer by the end of a sequence than you were at the start.

In all these cases, however, the solution is the same: keep your eye on the goal. Finish that story. You can’t learn to do endings until you practice them. Learn to let yourself be bad at something long enough to be good at it. This is an essential step many artists have to take. You can and will make that story better, but you need to finish it first.

Questioner

In Nalthis, when is Breath first bestowed upon a person?

Brandon Sanderson

When is Breath first bestowed? Um, so I went-- Oh, so you're getting at this sort of-- I got it. *laughter/pauses* So, are you saying is it at birth or conception?

Questioner

Pretty much. I'm just wondering *audio obscured by laughter*

Brandon Sanderson

…What's that?

Questioner

I'm wondering if mothers have autonomy over their own bodies when it comes to Breath?

Brandon Sanderson

Yes. Uh, I'm going to go ahead and RAFO that one for-- Let's just let it-- Let's let-- Let's let the fanbase discuss that one and come to their own decisions.

strican

In The Lost Metal, it mentions Autonomy having avatars in other worlds. In Shu-Dereth on Sel, Jaddeth speaks directly to Wyrn, who then propagates his will down the hierarchy-

Brandon Sanderson

Yes.

strican

Within the religion, ambition is rewarded, but only if it aligns with the orders of the hierarchy. That sounds similar to the philosophy used in the Set, but replacing Jaddeth with Trell. Is Jaddeth an avatar of Autonomy?

Brandon Sanderson

*chuckles and points at screen in very satisfied way* RAFO. You're a very smart person.

It's [pronounced] "Yaddeth", by the way. That is also one of the Y-J's. ...

So, I will say this. Here's what I'll canonize. There is something happening, and the people there legitimately believe, and have reason to believe, that their god is going to return. And I have said before, many times, that Book 2 of Elantris begins with the return of their god. 'Cause they've said "God can't come back until everybody converts". But they've found a loophole. They're like "well, except those heretics in Elantris. And also that other little place, that tiny little region that's over in the mountains, where they talk about roses, they don't count either. Because they're, um, not actually part of the planet." Um, so. So that's something to look forward to, if I ever get around to writing Dakhor, is the return of Jaddeth, the god of [Shu-Dereth].

Questioner

Are the graphic novels of Dark One still supposed to be prequels to the eventual television series? Or will the television series be an adaptation of the graphic novel?

Brandon Sanderson

If I get my way, television series is an adaptation of the graphic novel. Let me talk you all through the long history of Dark One. I, as you might know, I really like to take sort of modernist, deconstructionist looks at the epic fantasy core idea, the Hero’s Journey you might call it, the epic fantasy of it. And in a lot of ways, you might call this my foundational myth. The idea of the young man born to a peasant family who has a noble heritage, who goes on a question, becomes a king, gets magic objects, saves the world. Like, this is the story of the David Eddings, The Wheel of Time, Memory Sorrow and Thorn, Sword of Shannara. I read a ton of these works when I was a young man, and it is kind of the core fantasy myth of the ‘70s and ‘80s. Fantasy really doesn’t do as much of that anymore, ‘cause it was done quite a bit and quite well. But I really like looking at that and deconstructing it. It’s not religious, but it’s very similar to that for me, the thing that kind of is my origin as a writer.

So, like you see authors deconstructing, in the Middle Ages or even the Renaissance and later, the Adam and Eve story, you see me deconstructing the heroic journey in fantasy. Mistborn was doing this to an extent. And after doing Mistborn, I found that I really wanted to explore another version of this, and it started to take shape in my mind as just being called Dark One. Obviously a nod to The Wheel of Time, but also a nod to a lot of these stories that have the Dark Lord who is the antagonist of this sort of monomyth. And I really wanted to do a story about, “What if you found out that instead of being prophesied to be Harry Potter, there was a prophecy that you would become Voldemort. And how did you deal with that? And what did that do to your life?”

Well, I tried this story multiple times until I cracked it. The first version I can remember writing was in its own complete fantasy world, and was a Young Adult/Middle Grade attempt at it. This is because Harry Potter was one of the inspirations for it, so it had a very Harry Potter-esque sort of… I was kind of using some of J.K. Rowling’s prose constructions. Not, hopefully, plagiarizing them, but looking at how she wrote and trying to do something a little more light-hearted and whimsical, like hers. And it just did not work. Just completely flopped on its face. Though, it’s the first place that Pattern, that eventually ended up in Stormlight Archive, showed up. Something like Pattern. And I set that aside and left it for a few years.

A few years, I came back to it and said, “What if I did this as a portal fantasy?” Fantasy where you start on Earth, and then transition to the fantasy world. And I tried it again, and I got, like, two or three chapters in, and it still was not working. It felt better. I felt like it made a step forward, but I had not cracked it. It was still a Middle Grade story; young YA, old Middle Grade, kind of like where Alcatraz sits.

I left it alone again.  Years later, this would be, like, 2014 maybe, I thought, “What if I tried setting this in the cosmere?” I moved it to the cosmere. Go three or four chapters in. And it still didn’t work. This is not unusual. I mean, this is the most unusual one for me in that it’s gone on the longest. But a lot of times, you try something and it just doesn’t feel right, doesn’t work. So I set it aside yet again.

And when I came back to it, the big change I made in my brain is that I’m like, “I think that the problem is that this is a book for someone who grew up reading these stories, but who is not still themselves a young person who hasn’t experienced these stories.” This story works way better if you share, kind of, in this foundational myth that I love so much. So that you can understand how it’s kind of trying to deconstruct it. And I realized I needed to write this as an adult property, not a Middle Grade. Or, if YA, it had to be old YA.

And that’s when I sat down and I wrote this treatment that really, finally, worked. When I say “treatment,” it is the plot outline, pretty detailed plot outline. And at that point, I decided it would probably work best as a television show. And I outlined it episode-by-episode. I went really into detail on all the characters and things, and it just sang to me. It worked; it really clicked. And that’s when I said, “Let’s try to get this made.”

So I took it to Hollywood, and there was a lot of excitement immediately surrounding it. Didn’t go anywhere, didn’t go anywhere… then, some things happened with Random House, my publisher, and one of the people that worked in their film department got ahold of the treatment and was like, “Wow, this is amazing. Let’s do something with this.” And then it just started to go “Bam, bam, bam, bam, bam.” That is when I decided to do the graphic novel.

So, the graphic novel is taking my original outline for the TV show, which does include chunks of dialogue and things like that, and doing it as a graphic novel format. Meanwhile, the television show started to take on a different life. This was when Joe Michael Straczynski was brought on, and he had some things to add that are very cool. But the television show really started to drift away from the original property. So we’re still kind of in talks about how much this will look like the graphic novel. But the graphic novel kind of turned into the way to express my vision for what this would be.

I don’t know what will happen with the TV show. I honestly can’t say. Joe is great to work with. I really like Joe. I am hopeful that something very cool will come out of it. It might look completely different. And in fact, there’s a chance we will rename the project property Joe and I are working on into something else, and call it something else. Who knows. Hollywood is weird, as we probably all already know.

Regardless, this is my vision. Graphic novel is not the prequel. Graphic novel is the actual outline that I wrote, taken and adapted really faithfully. They did a spectacular job with this. They focus a little more on Mirandus. The actual outline has more with Lin, Paul’s mom, and Mr. Caligo. And they focused their attention a little more on Mirandus. It’s not like they added anything; it’s just that there was too much there, I think. (Because it was meant to be a full season of a television show.) And so they focused their attention there. But Lin is still in it. There’s still plenty, and the scenes that are still there are all ones I had in the outline.

If I do a novel, it would be the prequel to this. Because the prequel, not giving any spoiler stuff, would be the thing that would work in an epic fantasy novel sort of form.

There’s the short version of the long history of Dark One.

Questioner

So, we were having a discussion about the term Soulcaster. The term Soulcaster is either, it's a person or it's a thing, and it's not always clear what it is. So when Sigzil is theorizing that the Parshendi needed-- they had Soulcasters, that's why they needed gemhearts, was he referring to the item?

Brandon Sanderson

He was referring to the item. That's what he was trying to get.

Questioner

What is your favorite original Shardholder?

Brandon Sanderson

My favorite original Shardholder?

I don't knoooowwww...

Questioner

Are they all that bad of people?

Brandon Sanderson

No no, they're not bad-- they're not all bad people. Many of them are-- you know the trick is I'm gonna have to really write them, as their personalities. Because right now they're really just concepts, and I haven't written very many of them. And so... I'm very fond of Bavadin, but I can't say.

Brandon Sanderson (paraphrased)

Personal favorite scene is when Kaladin finally says the words of radiance. I waited a long time to write that scene.

Questioner

Soul Forging. Emperor's Soul. If one created the stamp properly, could you, using it, say, Windrunner you stamp, rewrote past to be Lightweaver. Possible?

Brandon Sanderson

That is possible and a little easier than a lot of other things. It's gonna run into problems... in that the Oaths are gonna be hard to align.

Questioner

Probably require some very fine crafting on the stamp.

Brandon Sanderson

Very fine crafting on the stamp. And there are certain people that they're just gonna have a hard time fitting into certain Orders. This is a lot easier though than just taking a random person and making them into one, because you're gonna already have Investiture that they've got.

Questioner

And have the basis of the First Oath.

Brandon Sanderson

Yeah. So this is not as hard as it might at first sound. It's the sort of thing that people in the cosmere are looking at. Like, being able to transfer magics between-- and things like that is one of very much interest in the cosmere.

drabgod

In Words of Radiance we find that Pattern is very literal-minded (at least until Shallan corrupted him), and mathematically-inclined. Even his real name is just a mathematical construct. And his head is a fractal. When I think of Pattern, I think "logic" and "truth", not "art" and "lies".

If all Cryptics are like this, then I wonder why they (and not artistic spren like Wyndle) are the ones attracted to the artistic Lightweavers. Is this just a matter of "opposites attract"? Are spren naturally drawn to people with personal qualities they themselves do not have? I am reminded of the Divine Attributes, and it seems like Shallan has the "Creative" side while Pattern has the "Honest" side. Is that a coincidence?

Brandon Sanderson

These things are not coincidences.

I have some very interesting rationals why certain spren are involved with certain orders. I never wanted it to be so straightforward as, "Oh, you control pressure? Here's a spren dedicated to that power." I feel there is more intricacy, and honesty, to a system that isn't so "on the nose" as we say in writing.

lucagreene18

If Szeth were to have drawn Nightblood immediately after he had consumed Rayse, would he still have drained Szeth's Stormlight? As it said he seemed like he had eaten as much as he could.

Brandon Sanderson

At that point, Nightblood had entered into essentially a food coma... Well, no, the food coma one came when he was drawing from the perpendicularity. I don't think he was in food coma mode at that point. I think that he could still have drawn more at that point, I'd have to go look at exactly what I wrote, if I'd put him into food coma mode or not. It is possible.

This is one of the things I wanted to answer with the book. A lot of people have been theorizing, could Nightblood eat an entire Shard? And indeed, Nightblood could not eat an entire Shard. That is not within his capability. In fact, one of the reasons that he leaks Investiture is: he's too stuffed full of it. There is more Investiture in the sword Nightblood than it can actually hold, it's supersaturated. And it leaks Investiture (that it's done some weird things to). But it is constantly hungry for more and constantly leaks it, but it definitely can get full for a time, and it could not eat an entire Shard.

I did see questions about that from people floating around, and it's something I'd been meaning to get to eventually. Nightblood is definitely relevant to things that are happening in the Cosmere, but it is not as simple as grabbing the sword, sticking it into a Shard, and defeating the Shard, unfortunately. Though, as you see in this book, there are reasons for a Shard to still be afraid of Nightblood. It didn't destroy Odium, but Rayse still really had a bad time.

Questioner

I’m curious, are the red eyes in The Bands of Mourning also linked to Odium?

Brandon Sanderson

There’s a similar thing happening, but it may not be the link you expect.

Galavantes (paraphrased)

Is Harmony more powerful than other Shards?

Brandon Sanderson (paraphrased)

More powerful or more potent?

Galavantes (paraphrased)

Um, powerful.

Brandon Sanderson (paraphrased)

Harmony is two shards in one.

Galavantes (paraphrased)

Could he take Odium?

Brandon Sanderson (paraphrased)

His two shards are at odds with one another.

(This was interesting to me, from his name being Harmony I had assumed Ruin and Preservation merged seamlessly. Brandon seems to be implying that while Sazed can utilize the power of both shards, he can't simply add them together)

Questioner

So when it comes to the superhero genre and female characters, I feel you have the two types. You have the damsel or the super sexualized black widow that is awesome. How has that been a worry for you?

Brandon Sanderson

So she's talking about the-- In superheroes you usually have the damsel, so you have the Mary Jane that needs to be rescued, or you have the black widow, hypersexualized thing like this, and the question is has that been a worry for me. It is something that is in the back of my brain, it's not  just a problem in superhero fiction, it's one of the ones that it is most manifest in. You will find the problem in most genres of speculative fiction, especially action genres. There's also what they call the-- There's the archetype of the Mother and the Crone. Those are your archetypes that women get to play. And it's been in the forefront of my brain a lot, in my writing, because I think as a writer the further you go as a writer the more you need to be aware of when you are falling into a cliche and when you're not. So yes it is something I've thought about quite a bit, particularly when I was writing Firefight "How am I going to deal with Megan as a character? And how am I going to deal with Mizzy as a character? And how they differ." So it was something I was thinking about very consciously as I working about on these books.

I think one regret I have a little bit is that I feel Mistborn I did a great job with Vin, but there's not very much of a female supporting cast in those books. It's kind of the archetype  that there's one girl in the whole city and then everyone else. And you kind of run into this and things like that and I was a little less conscious as a writer in those days. But it is something that I think all writers need to be aware of. The thing is that we talk a lot about feminist theory because it tends to be most manifest when men are writing, but when women write there is also one that they do that is they tend to make the guy like this perfect guy and what happens is the guy has no personality he's just perfection and the girl is either a klutz or a doofus or she can't do anything right and the guys are all these perfect ideals. And that's when women write, when men write it's like the girl exists to be saved or to be lusted after. You just have to be aware as a writer these are going to be very natural to you because of our society or whatever we've seen a lot in storytelling, and you just have to become aware of them. And as soon as you become aware of them you can start working on them.

The easiest way of getting away from doing this is to avoid tokenism, meaning if you are going to put someone in who is a certain ethnicity or is different from yourself or one thing like that, if you force yourself to put two in you then suddenly can't make them the stereotype because otherwise they are the same character and that forces you to really think about that and is one very easy way. I can go on for hours about that so take my class and ask me and we can talk about it.

Brandon Sanderson

My Year

This year was almost completely dominated by the writing of Oathbringer, Book Three of the Stormlight Archive. The first files I have for the book were Kaladin scenes, written in June 2014. But the book didn't really start in earnest until July 2015, when I wrote the Dalinar flashback sequence. (See State of the Sanderson 2015.) I had those done by October, but November was when I really dove into the novel.

I spent most of 2016 working on it, with only a few interruptions. It was an extremely productive year spent writing on something I'm very passionate about—but it was also a monochrome year, as I poured so much into Stormlight. There were far fewer side projects, and far fewer deviations, than the year before.

I've come to realize I can't do a Stormlight book every year, or even every two years. You can see that this one took around 18 months of dedicated writing time (though that does include some interruptions for edits and work on other things.) My process is such that, when I finish something like Stormlight, I need to move on for a while to refresh myself.

That said, Oathbringer is done as of last week! Here's a quick breakdown of the year.

January: Oathbringer

A lot of this month was revisions. I decided to do something unusual for me, and revise each chunk of the book as I completed it, which let me get my editor working on his notes early in the year—rather than making him wait until this month, when the whole thing finished. That means I'll soon have a second draft of the book completed, though I only completed the first draft a little bit ago.

Also squeezed into January was a trip to Bad Robot, where I had a cool meeting with J.J. Abrams. (In conjunction with a video game my friends at ChAIR Entertainment are making—the Infinity Blade guys. I just gave a few pointers on the story; I'm not officially involved.)

February: Calamity Tour

I toured for Calamity, the last book of the Reckoners. The whole series is out now, so check it out! There is a nice hardcover boxed set of all three available in most bookstores, and it makes a great gift.

While on tour, I read from Stormlight 3, and some kind person recorded the reading for you all. Also, here's another version from FanX in SLC.

March: Trip to Dubai

I was invited to, and attended, the Emirates Festival in Dubai, then traveled south to Abu Dhabi to visit some friends. This was an extended trip, and I often find it difficult to work on a main project (like Stormlight) while traveling. I have too many interruptions. I can write something self-contained, but have more trouble with something very involved.

On this trip, I wrote a novella called Snapshot: a science Fiction detective story where people solve crimes using exact recreations of certain days in the past. It's a little Philip K. Dick, a little Se7en. This one's coming out in February, and will likely be my only release in 2017 other than Oathbringer (which will be in November). More details here.

April: Oathbringer

I got back into the groove of writing, and did a big chunk of Oathbringer Part Two. If you missed the discussions on Reddit, here are my various updates there spanning about a year's time, talking about the book: One, Two, Three, Four, and Five.

May: Edgedancer

I took a short break from Stormlight 3 to write…Stormlight 2.5, an extended story about Lift, with smaller appearances by Szeth and Nale. If you want to get your Stormlight fix before the release in 2017, you can find Edgedancer in Arcanum Unbounded: The Cosmere Collection. (There will eventually be a solo ebook release, but that's a number of years away, as required by my contract with Tor.) I also wrote essays and annotations for each world and/or story in the collection.

When I decided I wasn't going to kill myself (and my team) trying to get Oathbringer out in 2016, I committed to writing this novella to tide people over. I think you'll enjoy this one, unless you're one of the people that Lift drives crazy. In which case you'll probably still enjoy it, but also want to punch her in the face for being too awesome.

June-August: Oathbringer

I finally got a good long chunk of time dedicated to Oathbringer.

I do love traveling, but it takes a big bite out of my writing time. So please don't get offended when I can't make it out to visit your city or country on tour. I try to do as much as I can, but I'm starting to worry that has been too much. Last year, for example, I was on the road 120 days for tours or conventions. This year was a little better, clocking in at about 90 days.

September: Alcatraz Release & Writing Excuses Cruise

Book Five of my middle grade series, Alcatraz vs. the Evil Librarians, came out this month. (A long-awaited book.) You should read it.

The cruise was a fun time, but very unproductive for me. There is too much going on, and too much to organize, for me to get much writing done. I did finish one chapter of a potential novella on the single day of writing time I got. (The story, called "The Eyes," is a space opera inspired by Fermi's Paradox.)

I might do something with the chapter eventually, but for now I'm sending it in to be this month's Random Hat reward for the $10 patrons of Writing Excuses on Patreon.

As a warning to those planning on attending the cruise in 2017: we'll have a ton of awesome guest instructors, and it will be well worth your time and money. I, however, won't be attending. I'll be on the cruise other years in the future, but (like JordanCon, which I love) I can't promise to go every year. Once every two or three years is more likely. It's just a matter of trying to balance touring/teaching with writing.

By the way, JordanCon, FanX, and Dragon Con had some amazing costumes this year—but I'll save those for another post.

October: Europe Tour

Though I had a few good weeks of writing between the end of the cruise and the start of the Europe trip, I quickly lost steam again as I visited France, Italy, Spain, and Portugal on tour. I had an awesome time, signed a ton of books, and met many people in excellent costumes.

November: Arcanum Unbounded Release

Finally, I released Arcanum Unbounded: the Cosmere Collection. The tour for this was short, and I apologize for that, but…well, there's this writing thing I need to do sometimes…

December: Writing Excuses and Oathbringer

I got about half the episodes for next year's writing excuses season recorded at various locations, and then finally managed to type "THE END" for Oathbringer.

There's still a lot of work left on the book, but I'm confident we'll hit our November 2017 release date.

Zas

I’ve got a question kind of based off of the train fight. If you have a time bubble, and you were to make it while you are on the train, would the time bubble move with the train, or would it stay at the same spot relative to the planet?

Brandon Sanderson

Time bubbles don’t move, so it would pull you out of it, then it would vanish.

Mi'chelle

If you were to pop up a time bubble and someone were to be stuck halfway in and halfway out, would they go splooch?

Brandon Sanderson

No, they would be in the time bubble. The time bubbles will move with the planet but not with the train.

Audience Member

Yeah, I always thought it was relative to the person creating the time bubble.

Brandon Sanderson

No, you’ll see Wayne create one, then he’ll walk up to the perimeter, but if he leaves it, it ruins the time bubble.

Zas

So is that because it’s linked up to the spiritual gravitational bond between the planet?

Brandon Sanderson

Yes, and you’re digging very deeply into stuff that I now can’t answer. Time bubbles have some weirdness to them that I don’t want to dig in too deeply, but yes.

BlackYeti (paraphrased)

In Oathbringer, Kaladin sees a painting from the Court of Gods which, it is claimed, shows something different to every person who sees it. However, as I understand it, the Returned only see things in the paintings because of their Divine Breath, there isn't anything intrinsically magical about the paintings themselves; what then is going on with this painting?

Brandon Sanderson (paraphrased)

He was very evasive here, ultimately he only said that not everything that you see is in the painting.

Questioner

You've said before that a certain main Stormlight character's younger brother would have been a Lightweaver. What would his Truths have been?

Brandon Sanderson

That's a very deep RAFO. I can give you the first one, though. He was going to have to acknowledge that he was not the person he was trying to be, but he could be someone better.

Questioner

I also read that you went to visit the United Arab Emirates, and you wrote the Alloy of Law while you were on the plane.

Brandon Sanderson

I didn't write the whole book.

Questioner

What did you write on the way here?

Brandon Sanderson

I wrote Stormlight Four on the way here. Let's see if I can give you a non-spoiler version of the scene, so you can know when you get there. In the scene, the person who's a Bondsmith is being flown about by Windrunners who are not the Windrunner who is the main character. So when you get to a scene that this character's being flown about by Windrunners and moving to a different part of the world, you will know that scene was written on the flight here.

Brandon Sanderson

Religious Philosophies

There is a belief that many people hold in the world, and I like to call it the "spokes on the wheel" belief. This is the belief that as long as you struggle hard and try to live your life well, you'll make it to heaven, or nirvana, or whatever lies on the other side of death. People who believe this tend to take an "It doesn't matter what road you take; they all lead the same place" approach. Every religion is a spoke on the wheel, leading to the center.

There is a lot of nobility to this belief. It's an attempt to be inclusionary, and the people I've met who believe this way tend to be sincere—or at least very accommodating—in their personal convictions.

I don't write books to disprove any one philosophy or belief. People who believe this way are not idiots, nor are they fools. This was the belief Sazed followed through the first two books of the trilogy. However, I see a danger in this set of beliefs, and Sazed's trials in this book are a result of that danger. If you believe everything, it seems to me that it is difficult to find any hard-and-fast truth.

Monotheism has its own problems, and I explore those in other books. Don't take this as a bash against your beliefs if you follow Sazed's previous philosophy. I simply saw a potential conflict, and couldn't help but explore it.

Satsuoni

You said that every person on Scadrial has a bit of Preservation in them. It is possible, then, to accumulate enough Hemalurgic charge from killing normal people by, say, steel spike (at once, or in order), to make that spike grant Allomancy? Building on this, is it possible for the spike to accumulate charge while being imbedded in acceptor body, by killing people with the protruding end?

Brandon Sanderson

My, you're making the Scadrial magic systems sound a lot like the one from Nalthis.... Hm....

Questioner

Would a Soother be able to affect a Listener attuning a Rhythm?

Brandon Sanderson

Yes, I think they would be able to.

Questioner

...Would it dampen Odium's effect on them?

Brandon Sanderson

Potentially, yes.

Brandon Sanderson

Secondary Book Projects

White Sand

For those who don't know, this is a book I wrote around the same time as Elantris—but which I didn't ever sell. Once I was published, I considered releasing it, but felt it needed a solid revision before I could do so.

Well, that revision was delayed time and time again, until the point where I decided I probably would need to just rewrite the book from scratch if I ever did release it. An interesting opportunity came along a few years later, however, and that changed my perspective. You see, the comic book company Dynamite Entertainment had come asking if I had anything, perhaps an unpublished novel, that would make a good graphic novel.

This seemed the perfect opportunity to make use of White Sand. I didn't have time to do revisions, but another writer could take my words and adapt them (really, what the book needed was a trim anyway) into a graphic edition. We said yes, and started into the process.

I've said before, Dynamite has been excellent to work with. Rik Hoskin, the person hired to do the adaptation, is a fantastic writer—and he really managed to preserve the core of my story, using my own dialogue and descriptions, while cutting out all the chaff. The artist Julius Gopez, the colorist Ross Campbell, the letterer Marshall Dillon, and the editor Rich Young have all done a fabulous great job.

The novel is big (no surprise), so it's going to be released as three graphic novels. The first of these is almost ready, and we're expecting a release sometime next year.

Questioner

Why have we not seen strong emotions like love or hatespren?

Brandon Sanderson

So. *pause* That's a good question, it actually is something I've considered a lot. Spren, it's hard to explain, but I'm going to try and vocalize it. It's partially that s-- that emotions that are like that are so individual to each person that you can't as easily create an identity for the Rosharans in their collective unconscious, if that makes sense? That they're just so-- and they're so ubiquitous that it didn't end up working the right way. That doesn't mean that they don't exist, but it's just not the same sort of ubiquity of some of the other ones. And I treat spren like races. Of animals. It's like saying "Well why didn't an animal grow that looks like a cat but has floppy ears?" or something like that. Well it just didn't happen, right? The organic nature of it-- There's no reason it couldn't have happened, and maybe you say "That's a fox, Brandon" but there's certain creatures that could have grown in our world that didn't and it's kind of a mixture between those two things. I kind of had to decide I didn't want a spren for everything for those reasons. And I wanted some spren to be really, really rare. And so you might see like a lovespren, but it doesn't pop out for puppy love, does that make sense? Or you might feel it, but there are none of those in the Cognitive Realm nearby, so they just don't show up.

H4rg

I would have a question about Soulcasting: is Soulcasting an Invested object harder ? And if it is a human (let's say, an Allomancer) but he is not burning any metal, would he be as easy as Soulcast as any "normal" person ?

Brandon Sanderson

It is harder to Soulcast an Invested object, but Soulcasters--by their nature--are used to dealing with this.

When Allomancers aren't burning metal, they are not considered highly-Invested.

Brandon Sanderson

The scene with Vin and the Inquisitor is the place where, finally, I got to bring some closure to the Reen plotline. What the Inquisitor says is true. When it came down to the end, Reen didn't betray Vin. He died before he let that happen.

Reen was not a good person. He beat Vin, he was selfish, and he was conniving. However, he did love his sister. Most of his beatings happened because he was worried that she would expose them somehow and get herself killed. He knew that the Inquisitors were chasing her because of her half-breed nature, and so he uprooted them constantly, moving from city to city. He kept her alive, teaching her to be harsh, but teaching her to survive.

And, in the end–after the Inquisitors got him–he didn't betray her. That says a lot about him.

Brandon Sanderson

Now that the three gangs have been dealt with, Raoden's storyline has had some major resolutions. The increasing pain of his wounds, however, is something I introduced into the book for fear that he wouldn't have enough pressing conflicts. As stated in previous annotations, his personality is uniquely strong and stable amongst characters I've created, and I figured that giving him a small problem in the area of self-confidence wouldn't be remiss. He feels that he's worse at dealing with the pain than everyone else, and that makes him worry that he isn't the leader he should. We'll have more on this later.

Questioner

I was wondering if you could tell me anything about Longshadow?

Brandon Sanderson

I cannot.

Questioner

No quirks, personality traits, favorite kind of shirt?

Brandon Sanderson

RAFO.

Brandon Sanderson

Origin of Bluefingers as a Character

Bluefingers originated, like most ideas for my books, as a character unconnected to any story or world. I wanted to tell a story about a scribe in a palace who was looked down on by the nobility for his simple birth, but who became the hero of the story. I felt that a scribe would make a nice, different kind of viewpoint character.

And maybe I someday will tell a story like that, but the character evolved to be the one who entered this story. He's much changed from those origins, as you can see, but he's largely the same person in my mind. And I love the name Bluefingers for a scribe character.

Yes, Bluefingers was also planned as a traitor from the beginning. The whole reversals idea required me to build my shadowy villains quite carefully and deliberately.

Just above, I spoke of the original Bluefingers as a hero. Well, the thing is, that's how he still sees himself. The heroic Pahn Kahl figure with his fingers in events, ignored by the nobility (or, in this case, the priests) because of his race and position, he was able to manipulate quite a bit of what was going on in the kingdom.

He was the hero trying to free his people. He just took it too far.