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Does anyone understand what [Brandon] means in saying that dead Shardblades cannot heal the soul, whereas living ones can?
It seems like it's been a while since I've read WoR, and I can't make out how the original scene demonstrates this? Is he talking about Kaladin's soul or Szeth's?
I don't understand it myself, except that two Orders can use Regrowth. But that might not be what Brandon is talking about.
If we spiked a singer with Feruchemical nicrosil, could he store the spren he's bonded to and lose form in the process? Could he bond another spren then? Could he then change forms at will by carefully storing and tapping nicrosil?
RAFO :)
When is Secret Project Five going to be released?
Sometime next year. We are shooting for early in the year, like first quarter, early second quarter, for the ebook and audiobook. But it's gonna depend. Basically, there's gonna be a backlog until I finish Stormlight Five and can do a revision of it. And until I can do that, everything else kinda has to wait. (Well, we can be working on the art, because I'm not gonna be changing big art things.) Esther and I have to work on it. Then the rest of the team can do their job of layout and proofreads and all of this stuff. So, I need to do a revision, and I just do not have the time until June.
Do you ever feel limited by the commitment you've made with the massive writing of the Cosmere, or is there enough variety within the Cosmere to keep you happy and feel like you have some flexibility to do what you want to do with your writing ideas and preferences, especially as they change.
The answer is no. Fortunately, I designed the Cosmere as the thing I wanted to do, and I had essentially been writing the Cosmere for like, eight books before I sold. So I knew pretty well that I would have enough flexibility and things like this.
I am very excited by large-scale continuity connections between stories - watching eras come and pass in epic story-lines and things like that. I've never felt constrained by it. If anything, once in a while I feel constrained by contracts coming at the wrong time when I'm super excited by something else - like when a deadline is coming due and I'm like "I need to get off of this and write this other thing".And that's just a matter of - it's a function of the popularity that we enjoy that I've talked about before. I think that if I were - I'm not going to go back to this, but when I were a little less popular, the publishers would sit on books for like, two and a half years after I turned them in, to find the right place to publish them, or the right time. The bottom-line of the entire company was not appreciably affected by my book releasing.
Nowadays, the bottom-lines of companies are appreciably affected by my books releasing, so they don't sit on them. You don't turn in a Stormlight book and have it come out two and a half years later. Fans would probably have a heart attack if they knew we were doing that. But what it meant was that this buffer that I had vanished unexpectedly out from underneath us and so suddenly everything I'm writing is at the last moment that it could get - the last possible moment for it to be turned in, to be published, is generally when it's getting turned in. And this is just because people are really excited to get the books out. What that means is that things will happen where it's like, in an ideal world I don't think I would have gone straight from Rhythm of War into Dawnshard. It turned out to be okay because I was writing different characters, but I really like space between books in the same series as a way to refresh myself, and ideally I would have written the next Skyward book and maybe the next Wax and Wayne book and then done Dawnshard and then written the next Skyward book, and then come back to Stormlight.
But that just wasn't possible because of the timelines that I've set out. Dawnshard really needs to be out before Rhythm of War comes out, and because of that tight deadline then I'm on another tight deadline, which now means that writing the next Skyward book has to happen next because my YA publisher has been waiting very patiently without a book for quite a while, and while I probably would want to go to Wax and Wayne 4 next because I've been away from that even longer, Wax and Wayne 4 is for the same publisher that's now publishing Rhythm of War and they've got plenty to do and are plenty busy, and I need to get something to the other publisher.
These sorts of things are the annoyances of the reality of being a professional writer, but I never feel constrained by the Cosmere. I've never felt constrained by "Oh I promised ten Mistborn books or whatever" (30 seconds of figuring out how many Mistborn books. 13?)
So do I feel constrained by that? No I feel excited by that. That's never been an issue. Do I feel constrained by the fact that I really need to get Skyward 3 and 4 and Wax and Wayne done in time to get back to Stormlight 5 to have Stormlight 5 come out on a reasonable timescale - that, I do feel constrained by.
If a thing that is Invested under one Shard, you transfer it to another. Does the method of continuing empowerment of the Investiture change to the source of that other Shard?
Naturally, no. It may do so.
The only reason I ask is because Nightblood doesn't seem to behave different.
Yes, Nightblood does not require, but will instead accept gleefully anything you give it. But for instance, if you took a Soulstamp to another planet and somehow made it work, it wouldn't necessarily draw on the power of that Shard to work. Granted, it's really hard to make a Soulstamp work. Here's another example. You go on another planet. Hoid is using Allomancy on Roshar. That is not using the power of Honor or Cultivation. It is still drawing on the power of, in that case, Harmony.
For the next Stormlight [book], will there be chapters from Jasnah's perspective?
There will be, I believe, at least one chapter from her viewpoint. I could change that but the outline has at least one from her. It’s dangerous to do too many from her viewpoint because she’s eventually going to be a main viewpoint character, and she has a large chance of taking over a narrative that she’s part of.
Are most kandra comfortable in any body configuration, or is MeLaan being comfortable in any gendered body an outlier? (i.e. do female kandra usually prefer female bodies, etc). And if this is common among kandra, is it because their long lives lead to introspection and self-examination, or is it just part of the species psychology?
Also, it's mentioned that kandra can "smell" whether another kandra is male or female, biologically. Does a transgender kandra have a different "scent?" What about nonbinary? And if they don't smell different, can they change what they "smell" like? (without using any magic beyond their shapeshifting)
You find a lot more kandra like MeLaan in the later generations. Generations who were allowed to develop a stronger, independent kandra culture separate from always being integrated with human culture. However, I'd say that almost every kandra, by nature of their physiology, spends a good time exploring both genders. I wouldn't call MeLaan an outlier.
Kandra learn very extreme control over their bodies, and can choose which scent to express and which gender (even to other kandra) to present. This includes a neutral scent, or some mix or something new, if they so decide. Remember that a kandra who wants to hide who they are, even from other kandra, is fully capable of doing so. Under current in-world technology, even blood tests would not be able to distinguish a kandra from the form they have decided to take.
During the lecture the other day, you talked about the books that you never published, the thirteen books. You mentioned something you called the unspeakable, terrible book number nine. What is that about?
Parts of it ended up as Warbreaker. It was called Mythwalker and I never finished it - it's the only one out of all those I gave up on. It had a magic system that didn't end up working. So, that's pretty bad for one of my books. I had an intriguing concept, but it never worked.
And do you have another one from the thirteen that you still intend on adapting, changing and then maybe publishing?
Aether of Night will probably end up in some form or another, and Dragonsteel will probably end up in some form or another.
Let's talk about the Torment for a second. Hoid would not call what has happened to him a Torment. Hoid, by holding a Dawnshard, was made permanently unable to cause physical harm to other beings. Eating meat makes him nauseous (if he is somehow able to eat it, and a lot of the times he just can't). That is because of the nature of the Dawnshard that he held actively warping and changing his spirit. He would not name it this. Nomad has named what has happened to him, a Torment. This is not a term that you can universally apply as a magical aspect of something. This is Sigzil saying "this terrible thing happened to me". And indeed what is happening to Sigzil is on a level beyond what happened to Hoid. So therefore perhaps other arcanists would say, "Yes, these are an aspect of holding a Dawnshard and Torment is the right way", but that word is loaded. That word has meaning, and someone is naming it this. You are not gonna run into a large set of people- there are only four Dawnshards- and you're not gonna run into a large set of people that have held one, so there may be no consensus even in-world to what these are called, and if they are Torment or blessings or what they are. Holding a Dawnshard will warp your soul. It's so much Investiture, it is so powerful, that you cannot hold one even briefly without it having a permanent effect upon you.
Could I have you write the name of-- or the intent of the Shard that's hiding on it's uninhabited world away from everybody?
Mostly because I don't want to canonize these things and so I get locked into it and the decision is absolutely made. I haven't changed many of them, but I have tweaked them before. I've tweaked like how I wanted to represent the intent, so...
As a follow-up: I've been curious for a while (since discovering The Truth about Taimandred, really) about how often RAFO means "This is a mystery I'm unwilling to divulge before the book is out" versus "I haven't decided yet" versus "I've decided, but I might change my mind", in rough proportions?
Also, any other categories of RAFO that you feel does not at all fit into the above?
Hm. I'd say that category number one is the largest. Category three is also very common. There aren't a lot of category twos, but it does happen. I think that for RJ, those weightings were different, as he was more of a discovery writer than I am. (As I consider...the #3 you mention might be bigger than #1.)
One very big one for me is that I often don't want to roll out things I have decided because that will lead people to ask questions about things I am still making up my mind on. Or it will lead them to figure out things that I'd still rather use as a major plot point in a future book.
Do you ever worry that you might run across a fan extrapolation on a theory that sounds really good, so you might be tempted to either borrow it, or maybe force yourself to go in a different direction?
I could see it causing the same problems that giving prescriptive advice to a discovery writer halfway through the book might.
It isn't something I worry about terribly, for the reason you point out. That said, GRRM (who is more of a discovery writer) has talked about how he doesn't worry about it too much either.
I think in both cases, it's about trusting your instincts as a writer--but also, being flexible. Sometimes, I DO let myself be influenced by things my readers say. This is part of the alpha and beta reading process, as often times, you'll be seeding things by instinct into a story that you don't fully solidify until someone comments on it.
So I don't worry about this; I just try to tell the best story I can.
The other lake in Alendi's bumps?
A manifestation of Ruin's gathered consciousness, much like the dark mists in book two. The lake was still around in Vin's era, but had been moved under ground. (Note that the Well is a very similar manifestation. You've also seen one other manifestation like this....)
Such as...this?
The "lake" was barely ten feet deep—more like a pool. Its water was a crystalline blue, and Raoden could see no inlets or outlets.
If that's what you're hinting at...I never thought of the connection before! I just kept thinking of Aether of Night, and never thought of this pool at all.
Both are accurate, but the first is what I meant, as most people here don't have access to Aether.
I'm also thinking that the Dor in Elantris is another Shard of Adonalsium. Certainly in the Elantris world, where the Dor came from is rather ambiguous, which I expected it would be. Of course, if other Shards of Adonalsium do exist, the Dor could have come from that source.
I will RAFO from here on the other Shards of Adonalsium, as it would be better for me not to give spoilers. Please feel free to speculate. Readers have met four shards other than Ruin and Preservation.
Have we met these four by name, or just by influence? I can't think of a name that would go with the one that the Elantris lake is a manifestation of.
Hoid could be one? I know nothing his purpose other than that he shows up in lots of different books, sometimes begging and sometimes telling stories. Since most of these series happen on different planets (though two of them may happen on the same planet as each other), I'm assuming he has mad planet-hopping skills.
...Nightblood...
Ookla, I'm going to be tight lipped on this, as I don't want to give things away for future books. But I'll tell you this:
You've interacted with two directly. One is a tough call. You've never met the Shard itself, but you've seen its power. The other one you have not met directly, but have seen its influence.
I thought Nightblood was explained sufficiently for my tastes in Warbreaker, so I doubt that it is a Shard, but I've been plenty wrong before. Also, I don't know if Hoid could even be a Shard. Certainly he has mean planet-hopping skills, but I don't know what purpose a celestial storyteller would have in this universe. He doesn't really have the same kind of power as Ruin or Preservation did, so normally I would rule him out right off the bat. But it is possible that these Shards come in many shapes, not just in the near-deific quantity Ruin or Preservation had. I think it's a bit of a stretch to say Hoid is a Shard... but, then again, I don't have any ideas for what those four other Shards are.
Maybe Hoid is just a traveler trying to find remnants of Adonalsium and stories about them. He doesn't need to be a shard, I suppose.
This is slightly a tangent, but here is a relevant chunk from the Warbreaker Annotations. As this won't be posted for months, I'll put it here as a sneak preview.
This whole scene came about because I wanted an interesting way to delve into the history. Siri needed to hear it, and I felt that many readers would want to know it. However, that threatened to put me into the realm of the dreaded info dump.
And so I brought in the big guns. This cameo is so obvious (or, at least, someday it will be) that I almost didn’t use the name Hoid for the character, as I felt it would be too obvious. The first draft had him using one of his other favorite pseudonyms. However, in the end, I decided that too many people would be confused (or, at least, even more confused) if I didn’t use the same name. So here it is. And if you have no idea what I’m talking about. . .well, let’s just say that there’s a lot more to this random appearance than you might think.
Brandon, I believe in one of Sazed's epigraphs, he actually called it "Adonasium" rather than what you are referring to here, which is "Adonalsium". I'm thinking that's just a typo, right?
I don't suppose you could tell us which book series of yours will tell us more about Adonalsium, would you? You know, just so us theorizers on the forum know when to properly theorize about these things...
Well, I guess this means that the proofreaders did not add the "L" when I marked the error on the manuscript.(sigh). Yes, the correct spelling is Adonalsium. I will try to get this fixed for the paperback, but I've been trying to get that blasted steel/iron error in the back of book one fixed for two years now. . .
If it helps, Sazed would probably under-pronounce the "L" as that letter, like in Tindwyl's name, is said very softly in Terris.
As for your other question, you will have to wait and see. Now, you could search my old books for clues, but I would caution against this. While there are hints in these, they are not yet canon. Just as I changed how things were presented in the Mistborn books during editing, I would have fixed a lot in these books during revision. Beyond that, reading them would give big spoilers for books yet to be released. White Sand, Dragonsteel, and Way of Kings in particular are going to be published some day for almost certain. (Though in very different forms). Aether of Nightshould be safe, as should Final Empire prime and Mistborn prime, though of those three, only Aether is worth reading, and then only barely. (It is still pretty bad).
If a Parshendi takes a parshman by the hand, gives them a gemstone with a spren in it, leads him out into a highstorm, can the parshman become a Parshendi in the same way that they become a voidbringer?
Now, yes, before no. The everstorm changed them, there’s something going on. In fact, as that scene continues, with Gavilar and Eshonai, there is a clue in that scene. But I didn’t get to that part.
What’s the difference between a Dawnshard and a Shardblade?
They’re actually, they… You will find out. (laughter) I can’t really reveal that right now, because that’s a RAFO.
Concerning the terminology for Epics, the definitions given for High Epics and a prime invincibility are effectively the same, meaning every High Epic should have one. However, in Steelheart David says that only a couple of the hundredths of High Epics in Newcago have one. Did David change his terminology between books or is there another reason. (I would also appreciate definitions for what differentiates a minor from a lesser Epic.)
Prime invincibility is the cream of the crop of High Epic, in David's estimation. The hardest of the hard to kill. However, other people define things differently. "High Epic" means "I have a power that, if you stand there and try to shoot me, it doesn't work." That's why in his definition, Regalia doesn't fit the bill--though many others would say her power of keeping herself hidden as she does would totally count. All a matter of semantics, but to him, there's a specific gradation.
Chapter Eight
Wayne imitates a constable
Writing this Wayne chapter was a pure delight. It was here that I was finally certain that I had his character down, following the misstarts before changing to this version of the story. Here is also where I made the decision that I'd chosen right in expanding the short story to a novel. For me, a single viewpoint character often isn't enough to carry a novel. (Unless I'm doing a first-person narrative.)
Wayne, as a character, really grew into himself here. It is interesting to me how quickly he came together as I started working on this book. That first false start was awful—yet, once I started writing about him as a counterpoint to Wax, he just popped out fully formed, Athena-like, brimming with personality and strength.
I do worry that he'll overshadow Wax a bit—which is one reason why it's good to wait until chapter eight to give him a viewpoint. However, I think it is a matter of appeal. The two of them will appeal to different readers. I really like how the two play off one another and have different strengths.
By the way, I realize the cover has a problem with Wayne holding a gun. It wasn't worth complaining about, as I felt that there needed to be a gun on the cover to indicate the shift in the Mistborn setting. However, Wax's hands are both down low, so the gun really does need to be in Wayne's hand. Just pretend he's holding it for Wax.
[Spren] are used to Invest a lot of things, fabrials, they turn into Shardblades. Are we ever going to see something similar with the seons, from Sel?
Yeah, they are basically the same thing. They're a little more formalized, a little more structured but they are basically the exact same thing so yes. Some of the things you see spren doing seons are capable of, some things that seons do spren will be capable of.
Vasher Confronts Vahr
Vahr's original name was Pahn. You can find it used in earlier drafts of the book. I liked the sound and look of that so much, in fact, that I based the name of the people he came from on his own name.
That made for a problem, though. That's like having a person named America. It happens, but it's kind of confusing in a book. So, I eventually had to change his name to something that had a similar look and feel, but which wouldn't lead to so much confusion.
Vahr dies here, and one of the major revisions I made to the book was to bring out more of his influence throughout the book. I didn't want it to be too in your face. However, he was a very important man. We see only the very tail end of his life here, but he worked for over a decade as a Pahn revolutionary, trying to inspire his people to rebel against Hallandren oppression. (Or at least what he saw as Hallandren oppression.) He eventually became such a popular figure that he raised an army, with monetary support from several of Hallandren's trade competitors across the sea.
We see here the end of that—Vahr, captured and being tortured. He's a lot more important than he seems, both to the world and to the novel itself.
It was said throughout the book that you cannot just give some of your breath, but must give all of it. Perhaps I'm simply forgetting part of the book where this changes, but wouldn't Vasher have to give his Returned breath along with his others?
The "You must give up all of your Breath, not some" line was mostly perpetuated by Denth, who is saying it to Vivenna to stop her from giving away her Breath to all the people she passes. It is a lie. Now, it's a lie that's commonly accepted by a lot of people. But it's still a lie—as we find out midway through the book, you can stick some of your Breath in an object and bring it to life, and then recover that Breath. So it's very easy to give some of your Breath to someone if you know the logical steps to take. Invest most of it into an object, give what you have to someone else, then pull back what you Invested. So it's flat-out proven in the novel that what Denth is telling her is wrong. Now, he could dance around that lie by pretending to be the ignorant mercenary—he's just perpetuating a falsehood that many people believe. But it is a lie. In fact, a lot of the things people believe about BioChromatic Breath isn't true.
One of the things I was trying with this book was to take a few steps back from MISTBORN, where so much was understood. I feel that the approach I took in MISTBORN is right for that book, and yet people have so much superstition regarding all sorts of science. I worry sometimes that there isn't enough superstition in my books, regarding magic as science. What people believed and what people knew and what people understood was so varied and confused throughout most of history, that I worry that I lack realism in that. Vasher brings up at several points in the book that they don't know a whole lot and that people perpetuate a lot of myths and stories and lies.
Vasher has learned to suppress his Returned Breath. When it's suppressed, it's as if it doesn't exist to him. He's Invested it into a place within himself, much like you can Invest your Breaths into a shirt, and when he gives away the rest of his Breaths, he doesn't give that one away. He could split off others of his Breaths if he wanted to—he's learned to do that, so that he could give a few Breaths and not all. It's just a matter of practicing as long as he has. But even people who aren't as practiced as him do it all the time when they Invest an object with not all of their Breath but just enough to bring it to life
When you were writing Skyward, did you ever change Spensa's name? And if so, what were some of her previous names?
You know, I kind of just started with Spensa. And so I don't imagine that there was anything. I'm trying to remember; I don't think there was anyting else before that. It was just nebulous, and I was using nicknames for her.
So, Metalminds: if you store weight, how does that work, do you decrease your mass or...?
So, storing weight actually plays with your mass, because if you look at how we do the physics of it… This one is really screwy, because we are changing mass and playing with it. You watch, like with Wax decreases his weight while he's in motion he'll speed up, and if he increases it, he'll slow down. The conservation of momentum and things like that, but we'll doing really weird stuff. It's like, how can you store your mass… Well, in the magic system it works, but it’s one of the weirdest things we do. *pauses to sign book* We kind of play loose and free with the physics sometimes. Like the example that I often use is Wayne doing a speed bubble, the light that is trapped in the speed bubble...like if he turns on a flashlight would actually radiate because of the redshift, and you could just kill everybody by flashing that. So, we make the speed bubbles not cause a redshift for that reason. We kind of work with what is good storytelling first, and then work the physics around it, but we have to put in all these little breaks and things like that in there regularity in order to actually have the story.
Structurally, The Way of Kings is fairly unique. There are three main POV characters in Kaladin, Dallinar, and Shallan, a handful of minor POV characters Szeth, Adolin, and then The Asides in which we only get a few pages of material largely unrelated to the overall plot. How will the cast grow and change in future volumes? Are you thinking of keeping each volume to a similar number of POVs or expanding it?
There will be a similar number, with a small expansion. At this point I believe you have met every one of the major viewpoint characters for the series. I don't want it to spiral out of control. I think too many viewpoint characters is a danger to epic fantasy, putting a writer in difficult predicaments for subsequent books—whether to leave some characters out, or whether to show a little bit of each of them without getting any major plot arcs for any of them.
So you've seen pretty much everybody. Now, at this point there are several who are major viewpoint characters for the series who we have not had many or any viewpoints from yet—Jasnah is one, a character who shows up in the epilogue is another, and there are a few others—but there are in my mind essentially eight or ten major characters in this series, and it will stick to that.
The interludes will continue to be what they are, which is that those characters may show up again, but it's unlikely that there will be many more viewpoints from them. The interludes are there because I wanted to have my cake and eat it too—I wanted to have the big sprawling epic with a lot of major viewpoints that we spend a lot of time on like Robert Jordan did, but I also wanted to have the quick jumps around that George R. R. Martin does, and they're two masters of the genre. And so I decided on the interludes as a way to jump around and show the world, to give depth and to give rounding to what's happening—give you little glimpses into important aspects of the world—but those characters are not people you have to remember and follow. Each of the interludes will have one character that you need to pay attention to, but you can take the interludes and read them and without having to focus too much on remembering and keeping track of what their plot is. Then you can jump back into the main characters. And that's always going to be the case in the books to come.
Each book will also have one character who has flashbacks throughout that book—we'll stick to one per book, and you will find out how they ended up where they are as we dig back into their past.
Snapshot sounds very interesting! Knowing that it's set on the Reckoners universe, I was wondering if I should change my reading plans and start with them now, or if Snapshot can be read without previous knowledge.
It is unconnected to the Reckoners story. You can read it without reading the series.
I also have the theory that Huio will swear Dustbringer oaths (taking spanreeds apart to see how they work and a badass Shardhammer). And I want to get my first RAFO so:
Can a KR swear 2 order oaths after obtaining a Shardblade?
RAFO!
Is Szeth immortal now since his...change in WoR? (From a "doesn't age physically" meaning of the word, not invincible)
RAFO, I'm afraid.
There's this scene where there was a nightmare, and Painter didn't have a paintbrush, and he just reached out to the side and a paintbrush appeared, and there was a flash of light. I need details, 'cause that seems so much like a Shardblade!
This is also working under the exact same mechanics, so yes, Investiture that he is Connected to is indeed being manifest as something physical.
My Year
January-March: Skyward and Legion Revisions
I kicked off the year quickly doing a second draft of Skyward. Pulling The Apocalypse Guard from the publisher, then promising them Skyward to publish in the fall of 2018, meant that I had to scramble. It wouldn't do to pull a book I judged to be of inferior quality, only to replace it with a book that I didn't have time to revise up to my standards. So you'll see a number of months dedicated to Skyward. (Which, if you somehow missed it, did come out—and is still sitting quite happily on the New York Times bestseller list many weeks later, so thank you all very much!)
Another thing I'd been putting off for months was the necessary revisions of the third Legion story. Tor was quite patient with me on this one, considering the Legion collection was scheduled for publication in the fall as well. But during these three months, I did multiple revisions of both books, eventually getting Legion into a polished state. (There was one more draft of Skyward still to do.) Legion Three, Lies of the Beholder, can be found in the Legion collection that was published earlier this year.
Finally, somewhere in here, I squeezed in an outline and world guide for Death Without Pizza. (Yes, that's a name change—no it's not the final name, but just a placeholder.) More on that later.
April: Children of the Nameless
Sometime around March of last year, Wizards of the Coast sent me an exploratory email. It being the 25th anniversary of their card game, they were wondering if I'd be interested in doing a story with them. As most of you know, I'm quite the fan of Magic: The Gathering. It's my primary hobby, and I have way too many cards. (Which still aren't enough, of course.) I was enthusiastic, and you can read more about the process I used to approach the story in this blog post.
I knew that by doing so, and by writing the story as long as it ended up, it would make getting to some of my other projects later in the year more difficult. (Namely, the fourth Wax and Wayne book, which I'll talk about shortly.) But this was kind of something I had to do, so I ask your forgiveness in taking this detour to Innistrad. I'm exceptionally pleased with the story and the response it has gotten, so if you haven't read it, I present it to you here! Reading it requires no prior knowledge of the card came or the lore surrounding it.
May: Skyward Final Draft
How long it takes to write a story depends on a lot of factors, but in general, three months gets me around 100k words. Shorter stories, with fewer viewpoints, tend to be faster—while longer stories with more intricate plotlines (like Stormlight) tend to take longer. But that's just for the rough draft. Generally, doing all the other drafts takes an equivalent amount of time to the first draft. (So, if the first draft takes three months, the second through fourth drafts will together take another three months.) You can see this at play in Skyward, which took about three months to write in the end of 2017, then took three additional months of revision to polish up.
I did sneak in a little time to do an outline for a piece called The Original in here as well, which took about a week. I'll update you on that in the secondary projects section.
June–August: Starsight First Draft
And, speaking of three month first drafts, here we get me buckling down and doing the sequel to Skyward. It's finished in its first draft form, and dominated my summer. In here, I also did detailed outlines for the third and fourth books of the series. (And this is where I determined for certain that the series would need to be four books instead of three.)
September–October: Odds and Ends
In these months I had some travel to record episodes of Writing Excuses, I did a quick second draft of Starsight to send to my publisher, and I did some revisions to Children of the Nameless. I also did more work on The Original, Death Without Pizza, and Alcatraz Six (AKA Bastille vs. the Evil Librarians, or Alcatraz vs. His Own Dumb Self). Finally, I slipped in some brainstorming with Dan Wells on how to fix The Apocalypse Guard.
Basically, I knew that November would be mostly lost to touring, and I was scrambling to get some work done on small projects to clear my plate for 2019, which will be dedicated to working on Stormlight Four.
November: Skyward Tour
I spent most of November on tour for Skyward, and quickly finishing up final revisions on Children of the Nameless. I got to see a lot of you while touring for the book, and had a blast—but these tours get more and more difficult as the lines get longer and longer. The tour for Stormlight Four in 2020 might require me to do some things I've been dreading, such as limit the lines to a certain number of tickets. It makes me sad to contemplate, but I'll keep you all in the loop about what we decide to do.
December: Death Without Pizza
I needed a break from all the other things I've been doing, so in classic Brandon style, I worked on something fresh and new to give myself a breather. This was where I was going to do Wax and Wayne Four, but doing Children of the Nameless meant that instead of three months extra space at the end of the year, I only had one month. (As CotN had taken one month to write, and one month to revise.) I had the choice of pushing back the start of Stormlight Four, or doing something else for this month and trying to sneak in W&W 4 sometime next year. I chose the latter. It's important to me that I let myself do side projects to refresh myself—but I also think it's important to keep to my Stormlight schedule. It would be too easy to keep putting off the big books until they stretch to years in the making. I told myself I was going to divide my time in half between Stormlight and other projects.
The truth is, I'm getting really anxious about getting back to Stormlight. That's a very good sign, as once I finish a Stormlight book, I'm usually feeling quite burned out on the setting, and need a number of months to recover.
In The Way of Kings and Words of Radiance, you covered the relationship between Shardblades and spren...you never get around to Shardplate.
I’m saving that one on purpose, it’s a gun on the mantle, or armor on the mantle. So, you will eventually find out what’s going on there, okay?
Navani's lecture on fabrial science mentions that a tin cage can cause a painrial to numb pain—presumably a pewter one can enhance it. The same epigraph also tells us that more advanced cages, with iron and steel, can change the fabrial's polarity. What does polarity mean in this context? What effects would iron and steel have on that pain-numbing fabrial?
RAFO! We'll get into it Evgeni. Well, I'll say I intend to get into it, whether I actually will have the chance. I was pushing it in that book with the amount of fabrial and scientific sort of stuff, and I want to be careful not to always be pushing that line. Because while some people love it, it gets very fiddly.
*Written:* So somewhere it says that the number of Breaths doesn't determine the power of the object. But are the number of Breaths directly tied to how much Investiture is in an object? You're repeatedly said that Nightblood is ridiculously heavily Invested, more so than Shardblades, Honorblades, or the Bands of Mourning. But it only has a thousand Breaths, which doesn't seem all that much from the point of view of the God King--Tenth Heightening, over 50,000.
So this is a RAFO, but you're starting to ask the right questions there. Okay?
*Writes:* RAFO
[Lift, her abilities] how might that apply to elements? Fire, air, rain.
She just changes friction, so however it would interact with it in our world it will interact that way.
So fire would... I don't know how that works.
She could keep someone from lighting a match, possibly.
When coming up with the powers of the Metallic Arts, was there a magical effect you wanted to include but couldn't, for whatever reason? And what power would you have added if you could?
The one I most wanted to get was steelpushing and ironpulling. The others are all based around the things that I thought a gang of thieves would use. And that's the one that I'm just like, "This is cool. I'm gonna make this work. I'm gonna fit it in."
There weren't any powers that I really wanted that I couldn't fit in. There are a lot of powers I considered and didn't get around to. Like, there is often a disguise artist in a thieving crew. But I knew Lightweaving was gonna be a big part of the cosmere. (Even back then I had written Dragonsteel, which had Lightweaving in it, and I was contemplating using that in Stormlight.) And I thought, "Too much disguise/illusion, too many uses of Lightweaving, is gonna become a problem."
Plus, the moment you add that to a story, it does things to the story. From then on, you have to be playing weird espionage games. Which I like, don't get me wrong, but it changes the tone of things when anyone could be someone wearing a different face. So I just didn't put that into the books. I did a little bit of that with the kandra, in order to make a nod toward that, but I put some really strict requirements on it so that I could use it in the second book the way that I did. The kandra were designed for this; they weren't in the original (I don't believe) version of Mistborn before I came up with this story.
Is it really the end? Could you ever potentially come back to Legion?
I'd like to do more with Legion—though it's likely to be in the form of other media. We have a television show in the works, and I've toyed with doing some original audio stories with Stephen in the lead. (Though the Marvel show Legion probably means I'll need to change the name of mine if we do get the show off the ground.)
Will Sazed eventually go mad trying to hold two Shard's power at the same time (being pushed to two different Purposes simultaneously for millennia)? Why hasn't anyone else tried this trick before in the Cosmere?
No. Since they're so opposite they work together to create a whole. However, after a LONG time it would change him as a person.
Chapter Forty
Originally, I had the steps leading up to Elantris from the outside be a construction put there by the people of Kae. I knew I wanted a large number of scenes on the wall–it is such a dominant visual feature of the book that I thought it would make a good stage for scenes. However, I quickly realized that it would be the people of Kae–not the Elantrians–who controlled the wall. The Elantris City Guard grew from this idea, as did the set of steps constructed on the outside, leading up.
As I worked more and more on the book, however, I came to realize that the pre-Reod Elantrians wouldn't have needed a city wall for protection.
Obviously, to those who've read more, there is a good Aon-based reason for the wall. However, there is more to it than that, as well.The wall of the city is a symbol–it's part of the city's majesty. As such, it made more and more sense that there would be plenty of ways to get up on top of it.
When we got the cover art back from Stephen, we were amazed by its beauty. A few things, however, didn't quite mesh with the text. One of these was the set of steps–they were so ornate, so beautiful, that it didn't fit that they would have been designed by the people of Kae. At that point, things kind of fell together, and I realized that there was no reason why the Elantrians themselves wouldn't have put a large staircase outside the city leading up to the wall.
And so, in the final rewrite of the book (the ninth draft) I changed the staircase, and the general feel of the wall, to give the proper sense to the reader. The staircase was placed by the Elantrians as a means of getting up on top the wall. The wall itself became less a fortification, and more a wonder–like the Eiffel Tower. It is there to be climbed and experienced.
Chapter Fourteen
They Visit Ranette
Ranette was a late addition to the story. I didn't start building her until I was working on chapter ten or so. (All earlier references to her were added in during revisions.)
I was feeling there was a hole in the story, that it needed one more character, probably a woman. I also wanted to add a gunsmith to the book, and so I started working on who she would be. Some hints of her personality came from the other character from the original short story. (Remember, the person who became Wayne was riding into town on a kandra with a horse's body. That kandra was female.) The personality I'd been developing there eventually jumped rails to become Ranette.
She's not kandra any longer, and I shifted some pieces of who she was to make her a more complete person. If you didn't catch the hint from Wax, she is indeed a lesbian, though it's not much of a big deal for the book. I try to find places for LGBT characters in the novels. (There's another one in The Way of Kings.) However, I back off from making much of an issue about it.
I guess I could be accused of not giving them full representation because of the fact that they usually have minor roles. The truth is that I'm worried I'd just do a poor job of it if I tried to write from their viewpoint; being gay is one of those things that tends to be very dominant in a person's way of seeing the world. It seems that there are a lot of pitfalls that I could saunter right into. I've think I've learned, after a lot of work, how to write female characters who (hopefully) don't feel wrong. However, I haven't taken the dive in trying to figure out how to write a gay or lesbian character.
But that's only one reason. There's a deeper one for me. Ranette will likely get viewpoints in the series, when I do more Wax and Wayne books. However, the books aren't about sexual identity, so I'll probably steer clear of that topic. In a way, I think that making a big deal of it could be more harmful. One of the reasons I put LGBT characters in my books is because they are a part of our world, and deserve representation in fiction. It's strange to think that in our world, LGBT people make up a significant minority of the population, yet in fiction (particularly fantasy fiction) they tend to either vanish completely or the story has to be all about who they are and their sexuality.
This strikes me as a bad way to do things. Just like not every book including women characters should be about feminism, not every book including LGBT characters should be about sexual orientation or gender identity issues. If they are, then that just highlights the supposition that they're out of the ordinary—it draws attention to that idea, rather than simply letting them be characters with a larger role in the story. We don't care about Lord Harms's sexuality, or Mister Suit's, or that of Miles. Why shine a big spotlight on Ranette's? It just seems divisive to me.
Anyway, those are just a few of my thoughts on the topic. Perhaps they will change as I ponder on it more.
What is Scadrial's primary intergalactic export?
Okay so, this is what I got from Brandon.
Prior to Kelsier exploding the Pits, Scadrial's canned goods were one of the main things exported to the intergalactic market from the planet.
NB: This is something that Brandon can change at any time if the story calls for it.
Chapter Thirty-Eight - Part Four
So, my favorite secret in the novel is the fact that the Lord Ruler is actually Rashek. I'm still not sure if this revelation will mean as much to readers as I want it to–it depends on them reading, and caring, about the story that happened in the past. However, when it all comes together, I think it really pays off.
So, the concept that started me on this book was "What if the Dark Lord won?" I thought about that, then figured it would be more scary if the hero had become the Dark Lord–only something worse. Kind of a "What if Frodo kept the ring?" idea. Well, I eventually decided to twist that into a "What if Sam killed Frodo and took the ring, then became a Dark Lord?" Like Kelsier says, there's always another secret.
The story, of course, grew into much more from there. The interaction between Rashek and Alendi (the unnamed hero from the logbook) was interesting enough to me that I decided to give it its own story, told through the chapter bumps. I see this book as actually having three prime viewpoint characters: Vin, Kelsier, and Alendi.
My favorite kinds of revelations are after this nature–things that the reader has been familiar with, yet not quite understanding, the entire book. Things you could have figured out much earlier, if you'd really been paying attention to the right clues.
These clues, then, led to the source of the Lord Ruler's immortality. It has been foreshadowed that age is one of the things that Feruchemists can store up, and we've established that the Lord Ruler can change his age. So, I don't think it was too great a stretch to make Vin understand that his Feruchemical storages were somehow behind his immortality. You'll get more explanation of this in the epilogue.
If after speaking the Third Ideal, Kaladin were to betray his oaths, would Syl turn into a Shardblade?
Yes.
I just got a job as an editor. What advice can you give me about my job from the perspective of an author?
The editor's job is to figure out what the author is trying to do, and how to help them make a better book than the author has written. Get them to try out options even when they don't want to listen or change the parts that don't work.
How do the characters come to be? I think one of the most interesting, my favorite character is probably Kaladin. How does Kaladin...
So, Kaladin had an interesting story behind him. I had originally wrote Way of Kings in 2002, and one of the things that didn't work with that draft was that Kaladin's character didn't work. He was called Merin back then. And it's just, personality didn't work. I'd written him too much like a classic apprentice kid on the battlefield who distinguishes himself, it was just too standard of a kind of fantasy storyline. And so I'm like, "Who is this person?" I needed more depth for him, so I added the whole "His father's a surgeon, he's trained as a surgeon" thing. That was one of the first big pillar I added to add more depth to Kaladin, was "All right, he's a surgeon, but he's been forced to go to war." The kind of field medic who also learns he's really good at killing people. That was, like, the first big thing that I got for Kaladin.
The other thing was the big tragedy that happened in his past, followed by the big tragedy involving the Shardblade led me down that path. And the last thing I added was the depression. This was, like, seven years of evolving this character before he actually came together. Characters are hard for me to put a finger on, because I usually write them by instinct. I'll write a chapter from their viewpoint, see how they see the world, step back. And I'll usually throw that chapter away and try it several times until I get the right... soul, cast in the role, if that makes sense. I can talk a lot more about other things, but character is trial and error until someone feels right.
The more distinctive you can make a character's viewpoint, the stronger, I feel, it will come across. When I feel like it's really working for me is when I can write a few paragraphs and say, "No other character that I've ever written could have written those paragraphs, just in how they describe the world."
Dark One. What is it?
YA novel I'm working on. I have a few sample chapters, if you want them. I may have to change the title, though, since a very dissimilar book just came out with a close title.
I'd rather not talk about the book too much, since I won't be able to get to it for a while, and I'd like to keep the ideas off the internet for a bit.
Well, anyone here can have the sample chapters if they want. In fact, anyone can have sample chapters of any of my books. I send those out pretty freely. I'm just not sure I want to go posting the ideas for this one about yet.
Also, if anyone wants any of my old books--anything pre-WAY OF KINGS--you need but ask. Most of them won't ever get published in their current form. So, if you're ever board, you can read an old, unpublished Brandon novel.
The complete Brandon Library is:
1) White Sand Prime (My first Fantasy Novel)
2) Star's End (Short, alien-relations sf novel.)
3) Lord Mastrell (Sequel to White Sand Prime)
4) Knight Life (Fantasy comedy.)
5) The Sixth Incarnation of Pandora (Far future sf involving immortal warriors)
6) Elantris (You have to buy this one!)
7) Dragonsteel (My most standard epic fantasy)
8) White Sand (Complete rewrite of the first attempt)
9) Mythwalker (Unfinished at about 600 pages. Another more standard epic fantasy.)
10) Aether of Night (Stand-Alone fantasy. A little like Elantris.)
11) Mistborn Prime (Eventually stole this world.)
12) Final Empire Prime (Cannibalized for book 14 as well.)
13) The Way of Kings (Fantasy War epic. Coming in 2008 or 2009)
14) Mistborn: The Final Empire (Coming June 2006)
15) Mistborn: The Well of Ascension (Early 2007)
16) Alcatraz Initiated (YA Fantasy. Being shopped to publishers)
17) Mistborn: Hero of Ages (Unfinished. Â Coming late 2007)
18) Dark One (Unfinished. YA fantasy)
19) Untitled Aether Project (Two sample chapters only.)
I was surprised when I learned just how much more Mistborn you're planning on writing, and was even more surprised when I heard that the Wax and Wayne quadrilogy was only a spin-off and not part of your major plans for the series. But now I've found out you've decided to include those books as a major part of the larger series and instead do 4 different stories within it. Will this mean the next part (which I understood was going to take place in the more or less present) will be further into the future so as to space out each story? And what was the reasoning behind including Wax and Wayne in the main series?
I changed my opinions on Wax and Wayne after writing the first book, then outlining books 2-4 (which are a kind of "Trilogy" with these characters, when the first book was an experiment.)
I realized that the next era (which is still 1980's level technology) would work way better with some foundations in the W&W era. I'm very pleased what this did to Era Three, as it now is (1980s), because of the foundations in Era Two.
And yes, the next series will each go further into the future.
Hello Mr. Sanderson, I have a question about bendalloy bubbles—what happens to a human that is partially in and partially out of the bubble when it's placed? Does the difference in the flow of time kill him?
And, if yes, is the boundary of active bendalloy bubble effectively impassable for living organisms? I get that bullets shot out of the bubble randomly change directions, but what happens to, let's say, a person trying to jump out of the bubble (or, given enough time, a person trying to get inside)?
Any living thing touching the bubble is affected by the bubble.
The [Scadrian] calendars don't appear in Arcanum Unbounded, but they're mentioned on the map as old calendar/new calendar. Since the Lord Ruler actually kept the calendar the same, what this is referring to is only the placement of seasons, since those have to change from year to year because of the orbit.
For the modern day Mistborn trilogy, have you decided on whether the nicrosil Misting main character will be male or female yet? I haven't seen you mention it anywhere.
I have him as a guy right now, but that could change. (It has before.)
I hated sending Syl away from Kaladin here, but it had to happen—in part because of how much it hurt to send her away. She's basically the only light left in these scenes with Kaladin in Bridge Four.
Syl wasn't in the original draft of Kings. I developed her over the years between 2003 and 2009; there was a time when the four winds from mythology would be active and alive on Roshar, and she was one of those. Eventually, the spren developed as a concept. They grew out of the greater worldbuilding and magic system rules for the cosmere. (The connected universe of my epic books.)
At that point, she became a sentient spren—one of many that would be in the books. Still, she was very special. I do worry about the Tinkerbell vibe that she gives off to some people. I tried hard to distance her from that. No wings, the constant shape changing, that sort of thing.
Her innocence and childlike nature is an important foil and balance to the darkness in Kaladin's life. Then she leaves, and all innocence is gone from him.
If the Stormfather were to turn into a blade for Dalinar, would it be bigger than other Shardblades?
Um… That's a RAFO. *people get excited* That doesn't mean that I'm going to answer it, that means that answering it would either canonize something I don't want to canonize or it would mean that it is something irrelevant and I don't want to send fans spiraling into-- and so... It doesn't necessarily mean that something that will be included in the books.
The First Generation Arrive
The First Generation are different from the other generations. Other kandra were born from mistwraiths that had bred true, becoming their own species. The Firsts, however, were humans who were changed directly into kandra. They aren't as good at holding their bodies together as creatures who were born first as mistwraiths. Someone like TenSoon carries with him a heritage of intuition and instinct gained by his previous life as a mistwraith.
The Firsts don't have that. They haven't practiced taking new bodies—in fact, only a couple of them have ever even done such a thing. They've spent their lives in the Homeland and don't know how to use their powers. The skin droops from their bones, and they look—and feel—old, something that doesn't happen to other kandra.
Here, oddly, is the first climax of the TenSoon chapters. He's not there to see it, but his words are what finally convinced the Firsts to come down from their alcoves and face the truth that the end has come.
Also, Moshe, I still think those should be podiums rather than lecterns.
The cover of, the front cover of any Way of Kings books, there's the little engraving, are those Honorblades?
They are the symbols of the various orders of Knights Radiant stylized as Honor-- as Shardblades.
Oh, okay. That makes a lot more sense, because I've seen the symbols on the back...
*pointing at the book* So it's this symbol right here is the same symbol as this.
Right, it's just a little more expanded and stuff down the blade. Wow.
