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Questioner

I'm very interested about the laws of magic. You wrote so many books, but I think that history will specially remember you because of 2.5 words, right? "Limitations are a bigger sign than powers," right? So, limitations must be bigger than powers, and I think it's a wonderful, amazing second law of magic, and it actually should be applied to the fantasy genre as a whole, because therefore we could avoid 90% of all the garbage that is out there if we really applied this second law of magic. However, you don't apply it to all your works. For example, your work for young adults, you don't apply that law that much, so I'm wondering why it is not a universal law, but rather a law that in some things, like for children or young adults, you don't apply so much?

Brandon Sanderson

That is interesting. I actually take exception to several things here. The first is, I don't believe that 90% of things are crap, or that there is a lot of terrible fiction. I take exception to when people say that about our genre or about any genre. Books that get published and are written are loved by somebody. Maybe that's just the author and the editor--once in a while--but usually there is a strong fanbase, and just because one person doesn't like it doesn't mean it lacks value.

Questioner

Sturgeon's Law?

Brandon Sanderson

I don't believe in Sturgeon's Law.

Questioner

No?

Brandon Sanderson

I think it's complete bunk.

Questioner

Okay?

Brandon Sanderson

In fact, Sturgeon did not believe in Sturgeon's Law, if you asked him. He did not believe in it, I do not believe in it. I think by perpetuating Sturgeon's Law, which is that 90% of everything is crap, what we are doing is we are buying into people outside of science fiction and fantasy pointing at us and trying to make us feel bad about our genre. This is not to say that you can't criticize, you definitely can, and there is a very important place for critics, looking at books and at the genre. But once, I thought about Sturgeon's Law, and I actually tried to decide if critics actually hated 90% of everything. And so I went to Rotten Tomatoes, and I picked the harshest critics I could find, and every one of them liked seven out of ten of these movies they saw.

So, while I think certain things can be pointed at, and say, "This is poorly done, because it is failing to achieve it's goals," we should not look at something that's achieving a different goal from what we think it should achieve, and call it crap because of that. If you can see, this is a point of a bit of interest to me. If someone points at, for instance, a lot of people in the genre disliked Eragon the book, I've referenced the movie earlier. But, is it bad for the millions of children who read that, and it brought them to fantasy and became the foundation for why they love our genre?

Questioner

Compared with the movie, it's not bad, right?

Brandon Sanderson

*laughs* Yeah. So, going back to your original question, though, my primary YA work is The Rithmatist, which is a story about a boy with no magic at a magic school, and is inherently a story about having no power, and having limitations. If you are referencing, instead, Alcatraz, my other series, it's about a boy whose magic power is breaking things, and he has no control over it. So, this is a story about a child who is in foster care, who has no control over his life, and his lack of control of his magic is a metaphor for his lack of control over his life. But Sanderson's Second Law is about finding the conflict. Making characters powerful can be a problem, but it doesn't have to be. For instance, Superman is usually held up as a character who is considered too powerful. But if you look at the best stories involving Superman, the story is always about what he can't do. He can fly, he can shoot lasers from his eyes, he can lift giant boulders, but he can't make a woman love him. This is what I mean by limitations being more important than the powers. A Superman story can be very interesting, but his powers can often be irrelevant.

Questioner

I remember there being something mentioned, the Thousand Eyes of Trell, somewhere in Mistborn, is that a real thing?

Brandon Sanderson

Yeah.

Questioner

There's something behind that?

Brandon Sanderson

Yeah.

Brandon Sanderson

Sazed speaks to Wax

So, if it matters to you, this is actually Sazed talking to Wax here. It's not just Wax's imaginings.

I'm not sure what readers are going to think of this. My goal with the original Mistborn trilogy was to set up a mythology for the world, one in which real characters were playing a part. Sazed is, essentially, God now. Maybe a lowercase g would be better on that word, but regardless, he's the one watching over the world and making sure things go as they should. At this point, he's working hard to discover what's going on with the other Shards and to keep another disaster from coming Scadrial's way.

I've spoken before on my fascination with religion, and this aspect is a particularly interesting one for me. I've played with the ideas of men being treated like gods in Elantris and Warbreaker—but they didn't really deserve it. Here, however, we have Sazed who is approaching more of what a god would be. Should he be prayed to? Why or why not?

You should know that holding two opposed Shards of Adonalsium has made Sazed more . . . zen, if you will. Not inactive. However, he has taken a belief that both Ruin and Preservation are important in people's lives, and doesn't feel that interfering is something he should often be doing. He sees his primary role being to encourage people to be better, to keep an eye on the other Shards, and to make sure the world keeps working as it should.

Questioner

Are Spensa's purple eyes important?

Brandon Sanderson

Only in that it's distinctive. I chose purple for her as a theme and the artist ran with that.

ccstat

Prior to loosing his eye, was Gaz a heterochromat?

Brandon Sanderson

No, but excellent question.

twiztedterry

I'm pretty sure that /u/mistborn worked with brotherwise on this game [Call to Adventure: Stormlight Archive], and probably had some say in the artwork.

Hopefully he sees this, and takes a moment to respond, I really wonder if this just flew under the radar, or if there's a reason that Rock has a different skin color than the rest of his peak.

Brandon Sanderson

They worked with my team--but I personally didn't have time to oversee all of the art.

Getting a lot of the characters' skin tones has been a challenge, as I'm often vague in the books. Rock is a good example; Shallan gets her paler skin and hair from the Horneaters, so a lot of people assume the Horneaters are Irish-looking, though I've intended them to be a variety of skin tones. So while it's not inappropriate to draw Horneaters light skinned (and a lot of fanart does) I intended Rock to have a bronzer tan skin.

The thing is, it doesn't quite look Alethi either, so they'll describe him through their eyes as looking "tan." It's a skin tone they don't really have, though, so there are passages an artist could look at and assume, "Oh, this guy is white, like Szeth" because of my descriptions, which are at times less specific than I should have made them.

So yes, failing on our part, but don't blame the artist--I'm sure there are places in the books that they drew on to get this description.

twiztedterry

Would you say Rock's skin is closer to a Native American, or would it be lighter, like a Pacific Islander?

My internal depiction has always placed him closer to native american skin tone.

Brandon Sanderson

I envision native American. Where the Alethi tend to run the range between someone who would look Asian to us (though the Vedens are more that skin tone) all the way through to Indian (actual Indians) skin tones. They'd look at Rock and say, "That's a tan" or "that's bronze." It's obviously not Alethi, but the words "light" and "dark" don't really work for the descriptions the way I want--in fact, a lot of the ways in literature we've talked about skin tones through history has been...well, pretty racist. It's sometimes a challenge to navigate this, my own biases, and the problems that come when working with a culture, like the Alethi, who are also pretty racist.

botanicaxu

Rock actually sputtered, an amusing mixture of indignation and incredulity, bringing a red cast to his light Horneater skin.

Though this sentence from Words of Radiance chapter 46 is what used to make me think Rock has lighter skin and it's from Kaladin's PoV. So it doesn't necessarily mean he actually has skin color close to pale/fair one, but just a bit lighter than Kaladin himself (or normal Alethi)'s tan color?

P.S. Sort of a fanart question: Do Rock's family members all have bronzer tan skin?

Brandon Sanderson

Yeah, that's one of the ones. So I try to walk a line with Rock, where he doesn't have an Alethi skin tone, but a Horneater one--which is why I blame myself for the interpretations here. I haven't been the most clear.

Oh, and for your P.S. Yes, they should. I imagine them bronzer than him.

Brandon Sanderson

It is my pleasure, it has been an honor. For those who couldn't hear it was a thank you for releasing books somewhat faster and a thank you for finishing The Wheel of Time.

You know, I've been there. I picked up The Wheel of Time in 1990, my 8th grade year was '89, [...] yeah it's funny, I talk about The Wheel of Time. Everything I picked up while I was coming to love fantasy was all completed series or series in the middle of being written, and so as a kid I'm like "These are all famous series, I want to find one that isn't, what's going to be mine?" You want to be discovering, so I'd go to the bookstore every week to look at the new books coming out and try to find them and I remember grabbing Eye of the World, the first Robert Jordan book, and being like "Oh, this is a big book". I was a kid with not much money, so if you bought a big book it wasn't that much more expensive than a little book but you got a lot more reading in it. It was a good bang for your buck so to speak. So I bought that book and I loved it, and I thought "Oh this is going to be it, this is--" And I remember when the second book came out and they had trade paperbacks and my little bookstore didn't get a lot of those and I went "Oh, OH, something's happening" and then the third book was there in hardcover and I said "Ah-HA! I was right!" So I had this sort of pseudo-paternal instinct for Wheel of Time even when I was 17.

But then I do know what it's like to wait, and you know George [R.R. Martin] is a guest here [at ConQuest 46], I want to speak toward the fact that he has had a long career and given people a lot of books, he may be slowing down a little bit as he's getting older, we all do. And he just wants to make sure his books are all right. I get tired hearing people-- Because I heard people do the same thing to Robert Jordan, y'know cut George some slack. He spent years and years toiling in obscurity until he finally made it big. I'm glad he's enjoying his life a little bit and not stressing about making sure-- You know getting a book that size out every year is really hard on writers. Robert Jordan couldn't keep it up, nobody can keep it up. Stormlight Archive's every two years. Even I, being one of the more fast writers out there, I'm not going to be able to do one of these things every year, there's just too much going on in one. So thank you, I will try to get them to you very consistently but it's going to be about every other year.

Bryan Thomas Schmidt

Another thing to know about George is George cannot write outside his particular environment-- All writers have their craft and I'll ask [Brandon] about it in a second, but George with HBO sending him out to promote, and cons, he's not writing. Whereas Brandon wrote in his hotel room I heard.

Brandon Sanderson

On both nights.

Bryan Thomas Schmidt

And I often do that too. George can't do that, so that's a difficulty too. There are other factors involved. And people love to meet him but when you meet an author sometimes they're not even writing 'cause they can't keep focus. So let's talk about-- How fast do you write a novel...

Brandon Sanderson

My writing approach and how fast I write. I'm actually not a particularly fast writer, for those of you who are writers out there I'll go at about 500 words per hour. What I am is a consistent writer. I enjoy doing this and my average day at home will be I get up at noon, because I'm a writer not a-- I'm not working a desk job, I don't have a desk, I don't go to a desk, I go and sit in an easy chair with my laptop, and I work from about 1 until 5. And then 5 until 9 is family time, I'll go take a shower, play with my kids, eat dinner, spend time with my wife, maybe go see a movie, whatever we end up doing. By about 9 or 10 she goes to bed and I go back to work and then I work from about 10 until 2-4 depending on how busy I am. If I'm ahead on schedules and things at 2 I'll stop and play a videogame or something, that's goof off time, go to bed about 4. And it really just depends on what's going on. If I'm traveling a lot, that puts a lot of stress on the deadline, and I've been traveling a lot lately, so in those cases I try to get some work done while I'm on the road, and it usually is not nearly as effective. I'll get a thousand words out of 4 hours I can sneak out of the day to get writing done. When you're breaking that rhythm, artists are creatures of habit and that rhythm-- Sometimes shaking things up is really good for you, but if that shake up is also kind of tiring, tiring in a good way I like interacting with people and going to cons, but you get back up there I feel like I worked all day and now I have to work all day. It can be rough, and at the same time with the schedule I want to have which is my goal is to release one small book and one big book a year. That’s my goal. One adult book and one teen book, and sometimes those schedules get off so you get one one year and three the next year. Or sometimes I do things like write two books instead of one, I did that this year, or last year. I wrote two Alloy of Law era Mistborn books, the second era of Mistborn books, and together they are half the length of a Stormlight book. So sometimes you'll see three. But I want to be releasing consistently, I want to have a book for teens and a book for larger people who are teens at heart? I dunno. It's hard because you don't want to put a definition on them, I don't want people to go "Oh The Reckoners is for teenagers therefore I don't want to read that" and I don't want to discourage, I've had 7-year-olds come up with their copy of The Way of Kings--

Bryan Thomas Schmidt

They're strong.

Brandon Sanderson

Yeah they're strong. My 7-year-old can barely read the Pokemon video game, so-- we played that-- and so I don't want to discourage anybody from picking up a book they think they are going to love, but I do want to be releasing one quote-unquote teen book and one quote-unquote adult book. By the way, since I've started writing teen, I started distinguishing them and it's really hard to say "I write teenage novels and adult fantasy." *laughter* That term does not always evoke the right image I want… I've been introduced sometimes at conventions that are outside my circuit, writing conferences, as the fantasy guy. They say "Here's our fantasy man" *Brandon makes a shocked/confused face prompting laughter* Okay I can take that.

Lirins hand

Are all the red-eyed characters influenced by the same Shard?

Brandon Sanderson

No. Good question! I was waiting for someone to ask that. You will come to learn what red means in the Cosmere. There is a meaning for red in the Cosmere.

Questioner

I noticed during Oathbringer, is there a symbolism between the color red? Because I noticed that red is mentioned many times. Is it tied directly to the Thrill?

Brandon Sanderson

When I am using red specifically for spren and eye color, I'm doing it intentionally. It means something. I'm not gonna tell you what it means yet.

Questioner

Azure's cloth was red, and Adolin picked up a red glass sphere.

Brandon Sanderson

Some of that is going to be coincidence. But the color of the thing that is going to Scadrial is not coincidence.

LoneRavers

Ever drawn a Thunderclast ? ;)

Ben McSweeney

I have not! Now that the Chasmfiend is settled, Thunderclasts are high on my list. I have some ideas, but Brandon and I have yet to jam on the subject and we probably won't until they make an appearance in the novels. We'll get there though, never fear... it's a Chekov thing, you don't throw a name like "Thunderclast" out there and never come back to it. :)

fastlindyrick

Didn't a Thunderclast appear during one of Dalinar's flashbacks early in Words of Radiance? (The one in the Purelake.) There was a little bit of physical description of the beastie too... something like a giant stone skeleton with glowing red eyes.

Ben McSweeney

You're right! I just went and checked the WoR text, there is a brief description of a fight between full Knights Radiant and a thunderclast, early in the book, and with enough descriptors to start with. It's been so long since I read it, and it's not a Shallan scene so I couldn't work a page out of it, that I must have forgotten.

Well, now I have to do something sometime, don't I? :)

Questioner

When Kaladin; when he turn's a lighteyes, how come they turn blue instead of tan or something? Is there a reason for that?

Brandon Sanderson

His eyes turn to the color of his order.

Questioner

What inspired Steris?

Brandon Sanderson

Partially, me feeling that I didn't do a fair shake by an autistic character in Elantris, and wanted to do a better job of it later on after I had read more and more about it, and I'd known some people with autism, and things like that, and I wanted to try approaching someone on the spectrum from a more realistic viewpoint. Not that Elantris is completely wrong, but it's more Hollywood interpretation, rather than the real-life way that a lot of people who have autism live with it. That was part of it.

Part of it was also, I wanted to write a character based on a friend of mine, who when I first met them, was very kind of abrasive. And as I got to know them, became one of my best friends ever. And I'm like, "I want a character like that for fans." So if you read the book, you're like, "I hate this character." But at the end, you're like, "Oh, when I can see from their eyes, suddenly they're one of my favorites."

Brandon Sanderson

Chapter Fifty-Six

Spook and Sazed Talk about Faith

I say that I don't try to put messages or morals into my writing, but that doesn't mean they don't appear there. It just means that I try to avoid sitting down and writing stories for the express purpose of getting across an agenda.

Every character in the book is a piece of me. Some of them voice my doubts; others voice my hopes. However, what Spook says here at the end of the chapter is my voice almost directly.

This is what religion means to me. It means that someone up there is watching. That someone is sorting everything out, and that someone cares about us and wants us to succeed. It means that if you try your best, you may not win—but winning won't end up being important. The fact that you tried your best, however, will be important.

I have real trouble believing that God, assuming He exists, is the type of being who would condemn the greater portion of mankind to eternal punishment because of their ignorance, their mistakes, and their . . . well, humanity. Yes, we need to try to be good people. Yes, the things we do wrong will cause us sorrow eventually. But there is someone watching, and that someone will do His best to make it all work out for us in the eternities. Or, most of the time, that is what I hope. Hope's enough for me right now.

Sorry to rant on you. To get back to the story, Spook is right. There are a lot of reasons to point fingers at religion and faith. We deserve it, and a pointed finger—the eyes of a critic—will hopefully make us into better people. Religion, as practiced by man, is far from perfect. The reason, then, to keep believing in the face of seeing the troubles religion can cause is directly related to the knowledge (or at least hope) that someone upstairs is going to make it all work out for us.

Questioner

In Words of Radiance you have a great line which said "careful planning is the water which nourishes creativity". I was wondering if, when you wrote that line, were you specifically thinking about novel outlines?

Brandon Sanderson

So there's a line in Words of Radiance that's says "careful planning is the water which nourishes creativity". Was I specifically thinking of outlines? So when I speak most lines like this, I'm trying to speak through someone's eyes. That's Navani, I believe, who says that am I right? The idea being that that's the way they'd perceive it. There are other people who would disagree. Now I am a planner, so I understand that mindset a lot. I use a lot of outlines. There are other people who don't plan at all and their books still turn out awesome. So I think there are a lot of different ways to be creative. But I don't think that Navani thinks that there are a lot of different ways. If that makes any sense. She has a different perspective on it perhaps.

Windrunner4thIdeal

How big do you envision the eye spikes on Inquisitors? I always imagine them as massive, sticking a good five centimetres out each side and not having a nail-esque overhang at the front.

Isaac Stewart

You can imagine them however you'd like, but I do imagine them sticking out the back of the head and the front. I suspect some Inquisitors have nail overhangs like railroad spikes, but others may not.

Questioner

So at the end of Bands of Mourning with the, um, statue? Is that spike in the actual eye, is that *inaudible* or is that an *inaudible*?

Brandon Sanderson

That actually is not. Yeah, good question. 

LewsTherinTelescope

In Rhythm of War, Notum tells Adolin that:

“Deadeyes can’t make choices,” Notum said. “They don’t have the presence of mind for it. I know this personally. My own father is a deadeye, cared for in the fortress now.”

Is this a mistake, conflating Captain Notum with Captain Ico? Notum's father would've been born centuries or millennia after the Recreance, going off what Notum says in Oathbringer:

“The Stormfather created only a handful of children. All of these, save Sylphrena, were destroyed in the Recreance, becoming deadeyes. This loss stung the Stormfather, who didn’t create again for centuries. When he was finally moved to remake the honorspren, he created only ten more. My great-grandmother was among them; she created my grandfather, who created my father, who eventually created me.”

So if he's become a deadeye relatively recently, it's surprising they didn't use him as an example instead of Testament.

On the other hand, Ico's father is definitely a deadeye:

Ico locked the door and hung the keys on his belt. “My father.”

“Your father?” Adolin said. “You keep your father locked up?”

“Can’t stand the thought of him wandering around somewhere,” Ico said, eyes forward. “Have to keep him locked away though. He’ll go searching for the human carrying his corpse, otherwise. Walk right off the deck.”

Peter Ahlstrom

Notum did not get conflated with Ico. Ico's father is not cared for in Lasting Integrity.

But the quote from Oathbringer apparently was forgotten. We'll have to address this sometime in the future.

Isaac Stewart

Art director Isaac here with an art reveal today. Recently Brandon, Kara, and Adam have been discussing publicity for Rhythm of War, and one thing that Tor has asked for is a simplified symbol to represent the Stormlight Archive on certain marketing materials.

Now, to be clear, we love the original Stormlight Archive symbol, and we are in no way abandoning or replacing it. Many readers have bought shirts and decals or have even gotten tattoos of it. We are using it in The Way of Kings leatherbound and will continue to use it as a chapter icon in Rhythm of War and future Stormlight books. So rest assured that we are not retiring this tried and true iconic symbol.

However, the symbol is complex, and it doesn’t read well at small sizes, so at Tor’s request, we’ve sought a simplified design. During this search, it occurred to Brandon and me that eventually we’ll need simplified symbols for all of the Cosmere worlds—symbols that will need to be easily recognizable from far distances—basically, space-era versions of our current symbols.

So, after hundreds of drawings and thumbnails, we’re unveiling to you now the space-era symbol for the Stormlight Archive.

We’ve built this on the skeleton of the original symbol, preserving the relationship between the sword, circle, and main focal point. Instead of extra swords, we have rays of light. Instead of the complex double-eye of the Almighty, we’ve chosen the burst of light from the original Cosmere symbol.

Going forward, we will actively use both this symbol and the original in promoting the Stormlight Archive, and eventually you can expect space-age versions of many of the current Cosmere planetary symbols.

The Dusty Wheel

If the Eye of the World were in the cosmere, which Shard's perpendicularity would it be?

Brandon Sanderson

Oh, that's a cool question. I wonder if that, in the back of my head, is where I even got Shardpools? I never thought about that before. It's totally possible, right? I read the book enough times.

Who would it be? I can see it being a Shard that doesn't exist, a Shard of kind of Prophecy, sort of thing. Like, Fortune, or something like that. Which, in the cosmere, there's not a Shard called Fortune; Fortune is kind of a property. But I could totally see that being the case. This idea of this representing Rand's destiny, and the coming destiny and being bound to the Wheel. Those are such themes in The Wheel of Time and in some of the other '80s fantasy that I read that I kind of intentionally pulled away from that in the cosmere in dealing with destiny and prophecy, except to subvert them in various cases. But, yeah, I can see it being something like that.

Questioner

Do you consider yourself a lighteyes or a darkeyes?

Brandon Sanderson

I am darkeyed… These hazel eyes don't get quite light enough, they wouldn't count me.

Questioner

Is the power of the bond between humans and spren, the Nahel bond, or from the swords—the existing Shardblades—that causes the eyes to turn light?

Brandon Sanderson

Yes.

Phillip Carroll

I have a personal question of my own. I'm LDS as well. After attending this meeting on worldbuilding, the primary problem is my faith that Joseph Smith wrote the Book of Mormon, because he really had six years to work on it, and I think that he had the ability to put that book together himself...

Brandon Sanderson

You know, yeah, a lot of people talk about there's no way that he could have done it. Being a fantasy writer myself, I don't think it's outside the realm of possibility that he could have written it himself, and I think basing your testimony, in the church, based on a concept like that is the wrong way to go. It is the wrong way to go, basing your testimony on, "Well, it's obviously impossible that he wrote it, therefore it must be true..." That's actually a bad logical way to look at the church.

I look at the church through eyes of faith, and my testimony is based solely on the fact that I believe God has spoken to me. I ask him, I say, "Is this what you want me to do," and I felt that testimony; I felt that burning inside, and for me, you know what, honestly, it doesn't happen that often for me. It's not like, you know, some people, they go to church, and every time it's like...no. I can point to three distinct points in my life where I felt that testimony, and other times I felt a good comfort, but there are three things where I said it was, you know, knock me down, this is true, that....and it wasn't even necessarily focused on the church. One was that I should be a writer, and one that I should be marrying my wife. The other one is very personal, so I won't mention that one, but those two moments I felt a powerful, powerful presence, and it came down to one of two things for me: either this is confirmation bias, which I assume you know about—either it's confirmation bias or it's the truth, and because if there is a God, he's not going to let me have this moment thinking that there....that, you know, this isn't going to be a lie. Either God is real and I'm feeling these sorts of confirmation...it really became that dichotomy for me, feeling those two things.

And from there, I just try to do the best I can. This faith has worked very well for me; I have not received any necessarily, moments saying "don't do this." There are lots of things in any religion—LDS faith is not alone in this—there are lots of things in any religion that are going to raise some eyebrows. You say, look, there's some logical holes here, and it doesn't matter which religion you're talking about; there's gonna be those. And because I've had those moments, those are what I have based, fundamentally, my faith upon, and honestly, for me, it's a choice between atheistic humanism, which has some very valid points, and the faith that I have now, and I only...you know, it's very Cartesian. Descartes, you know, "I think, therefore I am." I have to rely on my senses and my emotions, and feeling what I felt, if I say, "That's just confirmation bias," for me that means that I can't really rely on my senses, and I don't really want to go that way. I want to rely on what I have felt, and you know, on a more lofty scale I think there's more to it than all of this, than just this world. I think there's gotta be.

And that's, you know...who knows? Maybe the secular humanistic approach is right, and I have no problem with the secular humanists; I don't think that there's this....you know, these are generally sincere people who are interested in finding truth, but you know what, I believe that I can follow the scientific method for my faith. I can say, "Is this true?" I can pray. I can feel a confirmation, and it's repeatable. It's, every time I've wanted it, I've felt it. That's enough for me to go forward in faith right now. So, that's my version of a comment to you. I don't mind if you post that—I really don't; it's okay—but you know, I think we just do the best we can, and we soldier forward.

Questioner

Are you going to write a sequel to Sixth of the Dusk?

Brandon Sanderson

Am I going to write a sequel to Sixth of the Dusk. I am not planning to write a sequel to it, though you may see people from that world, or even Sixth himself, in other books if you keep your eyes open.

Brandon Sanderson

The God King's Priests

Treledees explains, finally, why it is that the God King's tongue was removed. I hope this makes sense. Or, more accurately, I hope that Treledees's explanation and rationalizations make sense. I don't want the priesthood to come off as too evil in these books. In fact, because we're seeing through the eyes of so many Idrians, I work very hard to show the Idrians (and the reader) their prejudices.

This isn't because I wanted to write a book about prejudice. It's because I wanted to tell a good story, and I believe that a good story works to show all sides of a conflict. Since we don't have any viewpoints from the priests, I felt I needed several reminders (like the confrontation between Vivenna and Jewels) to explain the Hallandren viewpoint.

Questioner

What is your philosophy on prologues? You do a lot of them.

Brandon Sanderson

I do a lot of them. I don't think they're necessary. I'm fond of them. Usually, if you can find a way to not do one, your story will probably be stronger. But they do let you do something like, for instance, if you know that the later tone of your story is not going to match the early tone of your story, you can hint what the tone is actually going to be in the prologue, which is really handy. And there are other things you can do. You can start with a bang with a prologue in a way that maybe sometimes you wouldn't be able to do if you were going right into the main story. There's things that I like about them. But I do think that they become a crutch to some writers, and that might include me.

Questioner

Do you have a recommended length in terms of how long it should be? ...Or maybe how long it should not be? What would be the max for a prologue?

Brandon Sanderson

Well, Robert Jordan's kind of became books unto themselves, and that worked for him. But when you're getting that long, you might be-- Short and sweet is probably your best. One of the best prologues ever written is the prologue to Eye of the World, Robert Jordan. But there's no real-- Just try to avoid the classic '80s one where it's like, "Prologue is all the worldbuilding dump that I couldn't fit in to the first chapters."

Pierre Cadieux

Did you ever study a martial art yourself? Did studying a foreign language change the way you write?

Brandon Sanderson

My only martial arts study comes from reading and watching, with the occasional 'one shot' go learn some basics.

Studying a foreign language was extremely helpful in opening my eyes to other cultures, and my own language.

Weltall (paraphrased)

I asked if Nazh's knife didn't glow to Kelsier's eyes because the metal wasn't from Scadrial generally or whether it was a metal with some particular property.

Brandon Sanderson (paraphrased)

RAFO.

Ted Herman (Paraphrased)

I asked for a personalization with some autobiographical details about Lift in the form of an ID.

Brandon Sanderson

Name: Lift

Date of Birth: A number greater than ten

Birthplace: With my mom

Eye color: Brown

Stephanie Akroyd

What critical steps would you take to facilitate a believable descent-into-madness type character arc?

Brandon Sanderson

It depends on how accurate you want to be with your psychology. This is one of those areas that I have made a special area of expertise, where I would say I'm still not an expert, but I'm better than the 10% knowledge I am in a lot of other things. And one of the things about psychology, you even heard me earlier saying Taln was wondering whether he was a crazy man or not: we talk about psychology in ways that can be very harmful or hurtful to people who are dealing with it. And you can just go read about people with Dissociative Identity Disorder and how they feel about how they're represented in media. (I'll give you a hint. It makes them really depressed how some of things things are represented in media.) And those of us who write novels, we are definitely fueling this, right?

And you can see, if you've read the Stormlight Archive, I go both directions. I have what I hope are very accurate and realistic depictions of mental health, and I have the Fused and the Heralds, who are using more a magical sort of pop culture version of: their minds are just degrading. They don't actually have a legitimate psychological psychosis or anything like that.

And you're gonna have to ask yourself: which direction do you want to go? I'm not gonna sit here and sit on a high horse and tell you you're just being harmful if you're just showing a descent into madness, because that can be really fun. The Shining is a great movie. And I don't think The Shining is necessarily harmful; it was done really well. But if you do things poorly, it can be very harmful. So I would say to you, number one, take some concern for that, and kind of ask yourself how you're going to approach that.

Otherwise, one of the things I would keep in mind is that the best books that do this for me are ones where I don't catch on at first, either. And that's part of the fun of this type of story. Whether it be a Lovecraft story, or whether it be The Shining. As you are going through, you are through this character's eyes. You are experiencing the world as they experience. And you are going to believe what's written on the page is true, and that the character is trustworthy, until it becomes evident it isn't. And that moment can be really cool. And keep in mind that that's one of the big reveals that you're gonna have for your story. And try to decide where that breaking point is gonna be. And make sure that that one works. If you can make that one work and then earn it, you're gonna have, I think, a stronger story.

Questioner

What gave you the inspiration for cytonic slugs?

Brandon Sanderson

The cytonic slugs came into existence when I started writing a short story I called The Eyes. This was a much later derivation of Defending Elysium, where I wanted to tell a story about human refugees in space who were fixing a hyperdrive that turned out to be a living thing. And most people didn't understand that the hyperdrive was a living thing, it was a secret.

I started writing this short story, and the lore was not clicking quite right. In that one, they were these glowing things. They looked like a power source, so people didn't know they were alive. The whole story didn't work, it wasn't the right rebuild of things from Defending Elysium. So I shelved that story. Sometime I'll let you guys read it. I may have put it out, I can't remember, but if I haven't I'll-- I only got two or three pages into it.

But that idea kept going in the back of my head. And eventually, when I was writing and building Skyward, I knew what I wanted was something that would look innocent, that Spensa would mistake for being the ship's hyperdrive. That would just look like it was something that's there, I like to hide things in plain sight. So putting a cute slug in... Why a slug? I don't know. I like underwater sea slugs, that just look cool. That's a cute thing I'd like to have as a pet. They're really something you can't, in our world, have as a pet. You could have it in a fish tank, but you can't get it out and play with it. What if you had one you could? So I built that as the hyperdrive and started having her teleport around, so that when you found out about the hyperdrives, you're like "it's been there all along, that makes sense!" The only thing I had to tweak from my original draft is, I realized eventually M-Bot was gonna have to have been crashed there for a long long time, so Doomslug had to be the great-great-great-great-granddaughter of the hyperdrive for that ship, rather than the actual hyperdrive.

jessybaby82

I would like to know what makes Brandon's books so well-suited to visual adaptation.

Thanks!

Ben McSweeney

He describes dramatic events and characters with clarity while including creative action, which makes it easy to visualize but also stimulating to imagine. He's also gotten quite good at giving you enough information to draw conclusions, without giving you so much that you don't need to bother drawing anything... that took some time, his early books are a lot less descriptive, but even with the first Mistborn novel he had some very strong visual concepts.

In addition, he's often combining something familiar with something fantastic (literally). The familiar elements give an artist a basis upon which to map the fantastic. So we have something like Shardplate, which is plate armor (familiar) but it's made *only * of plates, no cloth or chain (fantastic), and that's where it gets interesting to design. Or we have the Chasmfiends, which were described by Brandon to me as "crayfish-dragons" (familiar/fantastic). Or we have the Inquisitors, tall scary men (familiar) with shiny steel spikes through their eyes that emerge from their skulls like horns (WTF).

Thanks to his descriptive clarity and the familiar/fantastic mix, a properly-trained illustrator has the right elements to produce content with enough basis to set a firm foundation, but enough freedom to add their own creativity to the mix.

Plus, his stuff is just fun. Fun goes a long way. :)

Questioner

So, there's a line in Elantris that has always fascinated me. Raoden is reading really old books, and he says that some of these books mention words such as "frequency" and "pulse length." I'm a physics major, this reminds me a lot of quantum physics.

Brandon Sanderson

Yes, it does!

Questioner

So, my question is, how much is quantum physics a part of the magic in the cosmere?

Brandon Sanderson

Here's the thing. I don't know quantum physics well enough. That's a rabbit hole; I am an armchair scientist, I do not have a degree in physics. And so, while I really like it, I build it in... When I'm doing this, what I usually do is I build in cosmere versions, so I can't be held accountable to getting some little thing wrong. So, yes, quantum physics is important. But, in some ways, some of the things in the cosmere are more like the pop science version of quantum physics, what everyone thinks quantum physics is but really isn't, are actually some of the things in the cosmere. The fun, awesome version of quantum physics. I try to make some of it as accurate as I can, not having a physics degree. But I have to be aware that... I am not writing science fiction, I'm writing fantasy, so there will be things that you're like, "That's not quite right," but it works in the cosmere.

Questioner

Anywhere I should keep my eye out for more stuff like that.

Brandon Sanderson

In Words of Radiance... when was the interlude, is it in the first book? The spren, they took their measurements. That's part of it. We're gonna have, just, little things like that around that are relevant, but I'm not gonna dig into it deeply until [Mistborn] Era 4, probably.

leinton (paraphrased)

Do highstorms have a rotation? The way they're described, they do not sound like storms on Earth.

Brandon Sanderson (paraphrased)

They do not, and that they are unlike Earth storms in their structure. They do not have an eye, unless you count going to see the Stormfather in them.

tharmsthegreat

You did tell us to keep an eye open for future sets. Well then, in your head, what are the colors of each main character (Tacenda, Highwater, Crunch, Willia)

Brandon Sanderson

Tacenda is GRW. The demons would be mono black, though Miss Highwater has some red and blue to her, while Crunchgnar has some red and green to him. Willia is White Green Black.

yahasgaruna

Is [Tacenda] still GRW at the end of novella, after picking up the entity?

Brandon Sanderson

I imagine that entity actually being green. A darker side of green, but still green. It evoked a feeling of destiny, and of putting it back together (which would be natural) and a kind of survival of the fittest attitude. You didn't get to see much of it, but this is my intention for it.

Think of the Entities as enormous mana reservoirs--the collected mana of a plane--that can be tapped to power spells, but with dangerous results. Davriel's Entity is pure black mana, while the entity of the bog is pure green. (Though in its shattered form, a lot of its instincts were about self-preservation, which comes across black in the story.)

Brandon Sanderson

One of the big revisions I did to Dawnshard was: I didn't have viewpoints from him originally, Nikli, because I wanted to maintain the mystique of them [Sleepless]. I realized after the beta read that the coolness of seeing through their eyes was more important, and indeed there was an issue with Dawnshard. I expected, because people had read Oathbringer, and the scene in Oathbringer, that they would immediately pick out who the horde, the Aimian, on the crew was. The tattoos were suppose to make it very obvious what was going on. 

The emotion I was looking for in the book was not mystery, but instead suspense. These are two kind of complementary emotions, and suspense is - at least as how I'm defining it right now - "Oh no! This terrible thing is going to happen. How are they going to deal with it?" And mystery is "What terrible thing is going to happen? And who is going to cause it?" These are two different emotions.

If you go into Dawnshard with mystery being your primary expected experience, then what happened to beta readers is, they're like, "Well, Brandon's always tricky about these things. So the fact that he has a person with tattoos on this says that's not the person. That is not the Aimian; that's too obvious. So let's watch and see how he tricks us about who the Aimian is." When my intent was "Here's the Aimian. Be scared because he has a good relationship with Rysn, and terrible things are probably going to happen." That's sad and scary and tense. I realized after reading the beta read, "Oh this is not landing. I need to add a viewpoint as early as I can realistically get it in the story that says 'No, no no no. This is the Aimian. This is the horde. You're right, you're suppose to be worried about that. Not questioning about that.'" So I added that scene. I'm really glad that I did, because I enjoyed writing it. I think it adds a lot to the lore, and it is a fun scene to read, I think.

I'm very happy for the beta readers being confused on that point, because I think the story landed way better for a lot of the readers, because they could let go of wondering who the Aimian is and focus on the emotion the story is actually stoking in them (or it's trying to), which is the suspense of watching what's going to happen when it happens. 

This is the reason why I really depend on beta reads, is for reasons like this. When what I'm trying to do doesn't land. A lot of the people talk to the beta readers, I hear, and say, "Why did you talk him into changing this thing that I love!?" That's not what beta readers do. That's not what they're there for. They are there so I can see if what I'm trying to do actually lands, and if it doesn't I can reassess and find a way to make it actually land. Because if you read all of Dawnshard, thinking that the mystery of who is the Aimian is suppose to be the big reveal, and then it just turns out to be the most obvious person, you'd be like, "Wow. That mystery was lame!" Hopefully instead if you read it saying, "Oh, there's an Aimian on this crew. I see who it is. They are gonna try to kill the people on board. That's sad. Hey! I'm kind of liking this character. That's even sadder! How is this ever going to get resolved?" Hopefully that's the emotion you had.

Overlord

Now that you are self publishing - has it given you a new found respect for those who have been self publishing from the beginning? I mean, now you are no doubt speaking with printers, typesetters, cover artists, reviewers, convention organisers. I guess you are having to market your own titles as well (although you've always been a great author for self promotion). Also, has the amount of work surprised you?

Brandon Sanderson

Well, I get to cheat. I've done well enough that I have a full-time assistant with a lot of experience in desktop publishing. So, I can hand him the book, and he can take it to design town. That said, we on the more traditional track have had to do some eating of our words in recent years. Once upon a time there was a large stigma to self-publishing, and we all kind of got infected by it. So when it became viable as a real, serious alternative for authors, we had trouble getting rid of our biases.

I wouldn't say the amount of work has surprised me, as I've paid attention to those self-publishing. I teach a writing and publishing class, and I've found that as publishing changes, I've had to keep my eyes on what it takes to publish reasonably on your own. I also know how much work goes into publishing a book on the publisher's end, and had no illusions about how much work it would take us.

Paleo

How did lerasium get its symbol when it was already in use as "A" during the Final Empire? Similarly, who decided in-world what symbol harmonium gets?

Isaac Stewart

I imagine, like with a lot of symbols, these things grow organically in the world. With the alphabet... at some point, probably, what happened is: they had all of these symbols for the metals. And they started using them as an alphabet. And somebody along the line, probably under the Lord Ruler's watchful eye, assigned symbols for the different letters. And then as new metals are discovered, they just assigned symbols that hadn't been used for a metal.

So, probably what they did is, they said, "Okay, we know there are this many metals. We'll assign these symbols to letters. But hey, we have a lot more letters than we know of Allomantic metals, so we'll make more symbols." So they did. And then, as they found more Allomantically charged metals, then they would assign them the next one in line.

So, I imagine if we see more metals in the future in the books, that the letters that don't have metals associated with them will get assigned to metals. But that's what happened with lerasium.

kakarotoks

In Bands of Mourning, the Connection medallion is filled with "Blank Connection" and Marasi can't understand Allik when she puts it on, but how do you fill the medallion with Blank Connection in the first place? And could Allik fill the medallion with his own Connection so that when Marasi taps that non-blank Connection, she would understand him ? Or even better, if instead of tapping Connection, Marasi decided to fill the medallion with her own Connection, would she become 'blank' herself then get auto-connected to local land? If yes, then why would Allik need to tap Connection when using the medallion instead of just filling it, becoming blank and understanding her? Or would that make him not connected to anything and unable to understand anyone ?

Brandon Sanderson

All right, so I want to be very careful on this. I typed out my response, but I've sent it to Peter to double-check to get another set of eyes on it. Once we get into mechanisms like this, we're digging into the cosmere-equivalent of computers or complex circuits. I need to make sure another person is double-checking my work.

As a side note for the Sharders reading this, when I dodge these types of questions in physical Q&As, this is kind of the reason. It took me a good thirty minutes to dig into the mechanisms I've written out, re-read to reconfirm to myself I have the methods right, then write it out. And I still have to send it to Peter, just because there are a lot of complex nuances here.

Calderis

just looking to prod you about the "blank connection" answer you mentioned running by Peter last week

Brandon Sanderson

So, I sent my reply to Peter, and he said, "This works, but I don't think you should answer it yet, as it comes too close to revealing things for the next books." So that's a RAFO via Peter, one of the first that has come that way, at least through me.

kakarotoks

Hi, pinging you again as you requested to see if Peter ever replied to you.I've waited patiently for you to finish touring (and maybe this is the wrong time now with christmas right around the corner), but can /u/mistborn or /u/peterahlstrom answer that first question. Seeing as BS already spent 30 minutes writing the answer, it would be a shame if it was lost in the end.

Peter Ahlstrom

I responded to Brandon back in October, and we have an answer, but I'm not sure now is the best time to reveal it publicly. Sometimes Brandon decides to leave the mechanical reveals for the books.

Aurimus

As you (probably) know/remember, I'm really interested in the early parts of your creation process. The ideas basically. What was the first idea that created Zahel in WoK prime? What came first, Zahel or Nightblood and what were they like originally? Was it through them that you came up with the idea of worldhoppers or did you just want another worldhopper to appear to show that Hoid wasn't the only one?

Brandon Sanderson

The idea was actually writing Kaladin's swordmaster in TWOK Prime. By then, worldhoppers were already quite well established. (I'd written Elantris in 99, along with Dragonsteel to be a prequel to the entire cycle. That was followed by White Sand and Aether of Night in 2000 or so--and Aether has the first on-screen appearance of a Shard.)

Kings Prime was 2002-2003, and I wanted Kaladin's swordmaster Vasher to have an interesting backstory. That was the origin of the idea for a worldhopper who was very interested in Shardblades. From there, wanting to do a sympathetic magic, and (years later) my editor suggesting a world more "colorful" drove me to try out Warbreaker itself.

Here is his first appearance in TWOK Prime. Note, none of the names are changed in this, so you get Kaladin and Adolin's original names, among others.

After a few moments, one of the monks noticed him watching. The man paused, regarding Merin with the eyes of a warrior. "Shouldn't you be practicing with the other lords, traveler?"

Merin shrugged. "I don't really fit in with them, holy one."

"Your clothing says that you should," the monk said, nodding to Merin's fine seasilk outfit.

Merin grimaced.

The monk raised an eyebrow questioningly. He was an older man, perhaps the same age as Merin's father, and had a strong build beneath his monk's clothing. He was almost completely bald, save for a bit of hair on the sides of his head, and even that was beginning to gray.

"It's nothing, holy one," Merin said. "I'm just a little bit tired of hearing about clothing."

"Maybe this will take your mind off of it," the monk said, tossing him a practice sword. "And don't call me ‘holy one.'"

Merin caught the sword, looking down at it blankly. Then he yelped in surprise, dropping his Shardblade and raising the practice sword awkwardly as the monk stepped forward in a dueling stance. Merin wasn't certain how to respond--all of his training in the army had focused on working within his squad, using his shield to protect his companions and his spear to harry the opponent. He'd rarely been forced to fight solitarily.

The monk came in with a few testing swings, and Merin tried his best to mimic the man's stance. He knew enough not to engage the first few blows--they were meant to throw Merin off-balance and leave him open for a strike. He retreated across the cool sand, shuffling backward and trying not to fall for the monk's feints. Even still, the man's first serious strike took Merin completely by surprise. The blow took Merin on the shoulder--it was delivered lightly, but it stung anyway.

"Your instincts are good," the monk said, returning to his stance. "But your swordsmanship is atrocious."

"That's kind of why I'm here," Merin said, trying another stance. This time he managed to dodge the first blow, though the backhand caught him on the thigh. He grunted in pain.

"Your Blade is unbonded," the monk said. "And you resist moving to the sides, as if you expect there to be someone standing beside you. You were a spearman?"

"Yes," Merin said.

The monk stepped back, lowering his blade and resting the tip in the sand. "You must have done something incredibly brave to earn yourself a Blade, little spearman."

"Either that, or I was just lucky," Merin replied.

The monk smiled, then nodded toward the center of the courtyard. "Your friend is looking for you."

Merin turned to see Aredor waving for him. Merin nodded thankfully to the monk and returned the practice sword, then picked up his Shardblade and jogged across the sands toward Aredor. Standing with Dalenar's son was a group of elderly, important-looking monks.

"Merin," Aredor began, "these are the monastery masters. Each of them is an expert at several dueling forms, and they'll be able to train you in the one that fits you best. Masters Bendahkha and Lhanan are currently accepting new students. You can train with either one of them, though you'll need to pay the standard hundred-ishmark tribute to the monastery out of your monthly stipend."

Merin regarded the two monks Aredor had indicated. Both looked very distinguished, almost uncomfortably so. They regarded Merin with the lofty expressions of men who had spent their entire lives practicing their art, and who had risen to the highest of their talents. They stood like kings in their monasteries--not condescending, but daunting nonetheless.

Merin glanced to the side, a sudden impression taking him. "Holy ones, I am honored by your offer, but I feel a little overwhelmed. Could you tell me, is the monk I just sparred with accepting students at the moment?"

The masters frowned. "You mean Vasher?" one of them asked. "Why do you wish to train with him?"

"I. . .I'm not certain," Merin confessed.

ebilutionist

Is the payment to a devotary while training under an ardent still canonical? And given that Vasher had a reputation for being a bad duelist in Warbreaker, exactly how good is he with a blade? Is it just a case of Nalthian swordmasters being better or did Vasher learn from his experiences?

Brandon Sanderson

It's been a while.

And Vasher isn't as bad as the text implies.

Brandon Sanderson

POSTMODERNISM IN FANTASY

The Way of Kings is out. I’ve been thinking a lot about the novel, what it has meant to me over the years, and why I decided to write it as I did. I’ve had a lot of trouble deciding how to pitch this novel to people. It’s a trouble I’ve never had before. I’m going to explain why this one doesn’t work as easily. But I’m going to start with a story.

There’s a particular music video I saw quite often when working the graveyard shift at the local hotel. I worked that job primarily because it allowed me to write at work (I wrote some eight or so novels while sitting at that front desk, including both Elantris and the original draft of The Way of Kings). However, part of my job there was the do the night audit of the cash drawer and occupancy, that sort of thing. As I worked, VH1/MTV would often become my radio for an hour or so, playing on the little television hidden behind the front desk.

The video was by Jewel, and was for the song “Intuition.” We’ll pretend, for the sake of defending my masculinity, that I paid special attention for the literary nature of the video, and not because I have a fondness for Jewel’s music. And there was something very curious about this video. In it, Jewel transitions back and forth between washed-out “normal world” shots of her walking on a street or interacting with people, and color-saturated “music video”-style shots of her engaging in product promotion while wearing revealing clothing.

The tone of the video is a little heavy-handed in its message. Among other things, it is meant to parody rock star/music video culture. It shows Jewel in oversexualized situations, having sold herself out in an over-the-top way. It points a critical finger at sexual exploitation of the female form in advertising, and juxtaposes Jewel in a normal, everyday walk with a surreal, Hollywood version of herself promoting various products.

Now, what is absolutely fascinating to me about this video is how perfectly it launches into an discussion of the literary concept of deconstructionism. You see, Jewel is able to come off looking self-aware—even down-to-earth—in this video, because of the focus she puts on how ridiculous and silly modern advertising is. The entire video is a condemnation of selling out, and a condemnation of using sexual exploitation in advertising.

And yet, while making this condemnation, Jewel gets to reap the benefits of the very things she is denouncing. In the video, her “Hollywood self” wears a tight corset, gets soaked in water, and prances in a shimmering, low-cut gown while wind blows her hair in an alluring fashion. She points a critical finger at these things through hyperbole, and therefore gains the moral high ground—but the video depends on these very images to be successful. They’re going to draw every eye in the room, gaining her publicity in the same way the video implies is problematic.

Deconstructionism is a cornerstone of postmodern literary criticism. Now, as I’m always careful to note, I’m not an expert in these concepts. A great deal of what I present here is an oversimplification, both of Jewel’s video and of postmodernism itself. But for the purposes of this essay, we don’t have time for pages of literary theory. The title itself is already pretentious enough. So, I’ll present to you the best explanation of deconstructionism I was given when working on my master’s degree: “It’s when you point out that a story is relyin’ on the same thing it’s denyin’.”

That will work for now.

Brandon Sanderson

Greetings, all! Brandon here with another update on your book. Short version, the rough draft is finished!

Before I get on to the longer explanation, I want to apologize. I planned to give you an update between the first one (which you can read here) and now. Turned out, the timing around early July proved difficult, and by the time I had a chance to work on an update, the book was almost done. I figured I'd just wait until it was.

That said, the book is finished at 149k words. It has an extra beefy epilogue, as this is the end of Era Two, and I wanted to make certain to linger just a little extra with the characters and the setting. I also thought that doing this book at 50% longer than the previous three in the series felt right. It is, hopefully, a very nice send off to what turned out to be one of the most rewarding accidents of my career.

Plan is, I'm afraid, to publish the book NEXT year. I have been pushing hard to get things done this year so my team can get to a place where they have more time to work on books. Rushing to do production on each one and have it ready just a few months before publication is proving too difficult. I don't want my team to be stressed or burn out.

So, our schedule looks something like this: I'll launch into a second draft starting on Friday, and do a solid revision ending sometime mid September. Then the book will go to my editor and beta readers, followed by two more revisions (one substantive, one a polish) sometime in spring when I need a break from Stormlight 5. Then proofreading and continuity can be done the rest of the spring with a turn in sometime in the summer for a publication in November. (This should coincide with the first two books being published as a leatherbound special edition.)

I've already started turning my eyes toward Era Three, which will be my main big project following the completion of Stormlight 5. My goal there is still to write three novels, 200k words each, back to back like I did with Era One. We'll see how that works out! Between now and then, I still need to finish Skyward 4, Stormlight 5, and (most likely) the Horneater novella about Rock.

I will plan to roll around and give you another update later in the year, perhaps once I know better my schedule for 2022 in regards to the third and fourth draft.

Best,

Brandon

Questioner

[Question written down, unknown]

Brandon Sanderson

They can communicate with each other. So, there's at least one answer-- with the spren-- Yeah, but it's not-- you don't really communicate with spren in the same way.

Questioner

Can they get, like, Odium- or Cultivation- or Honor-oriented spren to kinda animate them?

Brandon Sanderson

No, that's not quite how it works.

Questioner

The intelligence in the eye of the chasmfiend, I was wondering. Or on the santhid rescuing her.

Brandon Sanderson

It's more, like, does a flower communicate with a bee. That's a similar sort of thing we're looking at here.

Questioner (paraphrased)

Do specific colors have an impact on Awakening in Warbreaker?

Brandon Sanderson (paraphrased)

Not usually, you just need a certain amount to Awaken. But there can be more due to various reasons connected to the cosmere. It is connected to the significance of eye color on Roshar.

Brandon Sanderson

Vin and Elend dine with Cett

And, we have our second "ball" scene in this book. Some people really enjoyed those in the previous book; at least one reviewer hated them. However, I like them–particularly for the visuals they let me use when going into the gorgeous noble keeps. As you may recall, these are based loosely on gothic cathedrals, which I just think would be an awesome place to have a ball.

Cett was, perhaps, too fun a character to write. I needed someone the opposite of Straff, and it was very fulfilling to write in an enemy to this series who was completely straightforward and belligerent. He still stands out to me, quite different from any of the other antagonists in the series.

He knows Elend well–that should be enough to hint that he kept an eye on things in Luthadel, despite his attitude which implies that he didn't care about the place. He's watched Elend's rule very carefully, debating whether to make an alliance or to make a play for Elend's throne. If the truth be told, he would have probably gone for the alliance if Straff hadn't moved against Luthadel.

He walks a careful line. He's not a good man, but he IS an effective leader in some respects. I wanted him to offer a third viewpoint on leadership in this book, one that is actually accurate. Being a leader isn't easy–not at all. There are a lot of ways to do it, and I don't want to imply that any one of these people–Elend, Cett, or Tindwyl–are wrong. That's what makes it so tough to be a leader.

Cett offers the perspective of open, honest tyranny. He doesn't lie to you. He tells you just what he's going to do, and he has a point that many of the things he does are safe.

But, what do you choose when you have to choose between safety and freedom? You can probably guess that I wrote a lot of this book during the heightening of security in America surrounding the September 11 attacks. The last couple of years, there has been a lot of talk on this topic, and it wormed its way into my writing. I didn't put it there intentionally, but I did monopolize on it when I found it there.

I don't have any answers. I just write what I see, and force my characters to make choices.

Questioner

I enjoy Way of Kings, it seems like that’s the one where everyone’s coming together. I was reading online about Galladon and Demoux being in it. I enjoyed that. Is that going to happen more often?

Brandon Sanderson

In that book- that series, yes. There will be more crossover. It’s kinda one of the core stories, along with the things happening on the Mistborn world and things like that. And so, there’s going to be a lot more crossover. Most of it’s still kind of subtle stuff, but if you keep your eyes open, there’ll be some real zingers in the next two books.

Questioner

How do you get the different personalities for all your characters?

Brandon Sanderson

With the characterization for me is a very organic thing. I acutally plot my plot in detail, do my worldbuilding in detail, before I start on my characters though, if I plan them out too much, they don’t have enough life to them. It’s a very weird thing to explain, but for me, what I have to do is I have to try writing through this character’s eyes, and if it doesn’t work, than I actually have to toss that chapter and try again, and often times you’ll see me start a book try a character a couple of times to get them right. And then they just grow into what they are as the plot goes along. And in fact, the characters have veto power over the plot, and so if I get to a point that I feel like a character would not do this, I have to either go back and cast a different person in this role, or...

If you are very interested in how I write, I do a podcast called Writing Excuses. And what it is is it’s through your browser, so you don’t do anything special, you just go there and press play, and it’s me and Mary Robinette Kowal who writes these books, they’re like Jane Austen with magic. (laughter) Yeah, she’s good. And it’s Dan Wells, who writes these really scary creepy books, but they’re really good, and it’s Howard Tayler. So anyways, Writing Excuses, all you aspiring writers, it’s Hugo-nominated, it's very well received, I think you’ll really enjoy it. You can look by topic, and find where I talk about writing characters, and we’ll give you a ton of advice. There’s two hours of advice on characters you can listen to.

Isaac Stewart

The symbolism [of the Threnody symbol] here has a lot to do with the star system. The three rules, right? I'm not gonna spill it out here. There's the three rules. So, each of these symbols has something to do with the three rules, and also different things that are found in the sky. I'll give you one of them. The eye is the sign of Purity. And then, I'd might as well. This is silver. This stands for "Do not run." And this one is the blood. Which, there are stars in the sky that are red there, so that's the star.

Brandon Sanderson

Quellion Pleads with "Kelsier"

By the way, Quellion can in fact see Ruin here. When Ruin manifests himself in form, not just in voice, anyone who he's corrupted with a spike can see him with their natural eyes. (Or at least, in the case of Inquisitors, with their Allomancy.) I tried to get this across as best I could, but some readers still had trouble with it.

Brandon Sanderson

The Battle Begins

You'll notice something about these next chapters. Instead of focusing on the trained warriors during the siege of Luthadel, I spend my time inside the heads of Breeze and Sazed–the two least experienced with war and killing in the entire crew.

This is intentional. I want to give the sense that Luthadel is a place unprepared for war. Even its soldiers aren't really fighters. There hasn't been much war in the Final Empire, and those veterans who do exist are in Cett or Straff's employ. I would rather show the battle against the koloss, then, through the eyes of men who will be horrified and confused at what to do, as I think that will be the norm for this conflict.

It heightens the tension, and the tragedy, of this all when you get to see Breeze and Sazed trying to cope with the horrors of a battlefield. Plus, the opposite has been done quite well a lot–whether it be in a David Gemmel book or in Lord of the Rings. You've seen brave warriors defend a city. Now watch a politician and a scholar try to do it.

Questioner

How come you don't have any gay, lesbian, or transgender characters in your books?

Brandon Sanderson

I do! This one [Shadows of Self] actually has one. Ranette is lesbian. Let's see, transgender is awkward because I have the kandra who are kind of no-gender and both, that doesn't really count, but it's kind of me testing the waters and seeing whether I can write someone who has fluid gender and not be offensive with it, does that make sense? So keep an eye on what I do with the kandra through the books. The other gay person is Drehy from Bridge 4, he's based on my good friend Ryan Dreher who is gay, and so you will see his husband appear in the series eventually as well, but we really haven't talked about that one yet, there really hasn't been an opportunity, but Ranette we've talked about and it becomes more and more obvious as we talk about it in the books.