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Brandon Sanderson

Chapter Fifty-Five

Treledees Almost Tells Siri How to Pass On the God King's Breath

We get to see more of Siri taking charge here. In this tense situation, a lot of others would have been reduced to hysterics, but she's come into her own, taking command, trying to get the information she needs.

Treledees lies to her here about two things. First off, he does know how a God King can have a child, but he knows that the secret is also held by a secure group of priests on the islands. He doesn't think letting Siri in on that one for now is a good idea. But he does want to pass on how to get Susebron's Breaths away from him, should it become necessary. He knows that those need to be passed on, even if the God King does have a child. That's the greater secret, but the one that needs to be known to Siri. Those Breaths cannot die with Susebron.

So, anyway, he's lying about the God King not being able to have a child. (Or at least he sidesteps it. He says that the God King can't sire a child, which is true unless certain steps are taken. He also says that he doesn't know how the First Returned bore a child, which is true—he doesn't know for certain if the First Returned used the same method that Treledees knows. He's also sidestepping the fact that he does believe that the blood of the First Returned flows in the veins of the royal Idrian line.)

So why not bring this up in the book? Well, I learned in Elantris that it's easy to overtwist an ending by having too many reveals. This is a very small point, and there is good rationalization for why Treledees doesn't let on what he knows. So I felt it was better to let the story stand as is, without delving into this.

Of course, there is a hint in the text about it—or at least a question. If they depended only on a Returned child taking Susebron's place, then why were they worried about Siri having sex with Susebron? They didn't need her to sleep with him unless they expected that sex to do something.

I'm sorry to leave this issue a mystery, and I'm even more sorry to not explain how Susebron can give away his Breaths. It's not important to this book, and so I felt that having Treledees give the explanation here would just bog things down. I'd rather wait until a sequel, where I detail the magic system in a more complete form, to give you these explanations.

That leaves us with the cliché of someone who almost passes on information, then dies. As I said, I am sorry to do this. I nearly didn't put it in, but I felt it very important to include something that let you know that the priests did have a way to get those Breaths.

Note that Treledees is not lying about letting Susebron live out his life with Siri in peace. They have allowed previous God Kings to do that, once they had a successor in place.

Questioner

I was reading the first book-- The Way of Kings, there is a scene-- no a Letter. Is that scene-- the person who is sending the Letter says that the Shards in Elantris are broken-- sorry they're, like, [Splintered], and they can’t be used again. How is that so, because if there was Adonalsium which Shattered and people took the Shards.

Brandon Sanderson

There are those who believe you could put the pieces back together and their are those who believe you can't, and shouldn't.

Questioner

You shouldn't put them back--

Brandon Sanderson

There are some who believe that.

Questioner

So will they be able to put it back together?

Brandon Sanderson

Well there are some who believe it is possible. *laughter*

Congratulations, you win a RAFO card!  RAFO is something Robert Jordan would say, that means Read And Find Out and I print out little cards so at least you get something. That means "I'm sorry I can't answer your question but I'm really not that sorry otherwise I would answer it"

Herowannabe

If I remember correctly, you did several fanart pieces of Brandon's novels, specifically Mistborn, before he ever commissioned you to do anything for him, right? What was your first introduction into all things Sanderson? And what's the story of him commissioning you to illustrate for him?

Ben McSweeney

SO! Storytime.

The first time I heard the name Brandon Sanderson was around 2007. I was listening to Mennege and Stackpole's old Dragonpage Cover to Cover podcast (283A), where they used to talk craft and industry of genre novels and interview authors.

Brandon was there to talk about The Well of Ascension. I heard his elevator pitch (fantasy heist novel, superpowers, dark lord ruling for 1000 years, etc), and then he talked a bit about his thoughts on creativity and writing and I heard a kindred spirit. He and I have very similar views on creative production and craftsmanship, and I liked what I heard so much I went out and bought the first Mistborn novel, then the next, then the third in hardback when it came out.

I was especially hooked by his visually arresting concepts; men with steel spikes through their eyes, flat heads catching the light like Gendo specs, gleaming points emerging from the back of their skulls like horns? Giant raging blue hulks with their too-tight skin tearing off their muscles, carrying Big Damn Swords of pitted, jagged iron? Cloaked figures soaring over misty spired rooftops on invisible threads of force, flinging coins like bullets and slamming each other around with super-strength?

Yeah, I can work with that. :)

I figured what the heck, it'd be fun to draw new fan-art even if nothing came of it. I sketched up some Vin and Inquisitor and Koloss pieces, really basic stuff, and began posting to his fan-forums on the old Time-Waster's Guide (now long gone).

Unbeknownst to me, at that same time Brandon was looking into the market for a concept artist. Suddenly here I was on his doorstep, reasonably competent and already showing what I could do with his descriptions. He got in touch and let me know that he wanted someone to help him with a new project, a pitch for a series of epic novels that would require a strong visual component. And he was going to pay me.

Didn't even try to lowball.

So there's my "lucky break" story. Right place, right time, right work, right guy, right on.

Questioner

How do you envision Patter and Syl when they are in their Shardblade form.

Brandon Sanderson

We're going to do sketches eventually, mhmm.

Questioner

Ok, cause I'm getting a tattoo at some point and i want to make it relatively accurate.

Brandon Sanderson

Send to Peter and to... well Peter can be in touch with him. Ben, who does a lot of the... Ben is the one that we have canonize the Shardblades, and so after i write a book he does a bunch of sketches for us of what I've describes and we kinda pick one, and i know we've picked one already, but I don't know. I cant draw it for you or anything but if you go to them they can give it to you.

Nathan Morris

How did you become interested in being a writer?

Brandon Sanderson

My start as a writer can be traced back to when I was fourteen years old. I was not a very distinguished student, so to speak: Bs and Cs in all my classes. I really didn't have any direction, either; there was nothing I really loved to do. I was also what they call a "reluctant reader". My reading skills were not fantastic, so when I tried reading Lord of the Rings for the first time, it was just completely over my head, and I assumed that all fantasy novels were boring. It was a teacher who handed me the very first fantasy novel I ever really finished reading. The book was called Dragonsbane by Barbara Hambly, and it had this gorgeous Michael Whelan cover on it which immediately caught my eye. I read the book and absolutely fell in love with it. I became an avid reader, mostly of fantasy novels, over the next couple of years. Soon I began to think, "You know, somebody out there is making a living at this, and it seems like it's something that I would really enjoy doing." That's when I found some purpose and direction.

There were certain influences in my life, my mother primarily, who convinced me that being a writer was hard to do, and she was right. It's one of these jobs where not everybody who tries it actually makes it. She convinced me to go into chemistry during college because I had done well in the sciences all throughout high school, thinking I could write in my spare time and have a real, solid job. It wasn't terrible advice; I'm just not sure it was the right advice for me at that time. I served a mission and during that time I was very, very pleased to be on another continent, away from chemistry. I really missed writing, though, because I'd been doing it for fun all through that freshman year before I left. I actually started my first novel when I was fifteen, but it didn't go anywhere. It was rather derivative and all those things that you expect from the majority of novels written by guys in high school. Knowing I could actually produce something, though, gave me some encouragement. Of course I didn't show it to anybody. I hid it behind the painting in my room because I didn't want anyone to see the pages I'd printed out and make fun of me.

When I got back from my mission, I thought, "You know what? I'm going to give it a try." It sounds kind of stupid, but like I said, there are people that get to do this for a living, and I decided that I was never going to be happy unless I gave it a shot. So I changed my major to English because I assumed that's what you did if you wanted to be a writer. I've since learned that that's not the only way to go about it, but it did work for me. It gave me a much better grounding in the classics. I was able to take some creative writing classes too, as a part of my required credits. I got a job working the graveyard shift at a hotel, which was great for my writing because I was there most weeknights from 11 pm until 7 am, and the only requirements that they put me to were, "Just don't fall asleep. Do whatever you want, just don't fall asleep. We need you awake in case there's an emergency or if anyone comes in." I ended up spending a lot of my time working on novels during those early morning hours, and that's how I was able to pay for school, attend it full-time, and still have time for writing. I did that for about five years until I eventually decided that I would go back for a master's degree. It was sort of a way to delay having to make the inevitable decision of what I was really going to do with my life. My backup career then became working as an English professor, partially because I do enjoy teaching, and I enjoy scholarship on the academic level. My parents were worried about me, though. They were afraid that I was going to end up begging for beans on the side of the road, or whatever it is that starving artists do. At least being able to tell them that I was getting a master's degree was helpful. It was also nice to be part of a community of writers and to be able to see what other people were creating.

Questioner

It's very subtle, but at the end of Oathbringer, when Jasnah goes to find Shallan on the battlefield, she goes to grab Shallan, Shallan's over here as Radiant. She has Shards *inaudible*?

Brandon Sanderson

That's a Read and Find Out. I'm being very coy on Shardplate, even though you have seen characters with it in the books before. Because I want to wait until I can do some reveals in viewpoint character.

I will tell you this: You have indeed seen people with Shardplate multiple times in the books. Or at least, the soon aftermath of someone.

PyroSkink

Is each book in this series a focus on a particular character? Did I read that somewhere?

Brandon Sanderson

Each one has a flashback sequence dedicated to a certain character, and a plot that has something to do with the flashback sequence. I do this to help differentiate them, and we sometimes call it "their" book--but that's a little of a misnomer, as the main plot may not revolve around the flashback sequence. It will simply relate to it.

PyroSkink

Ah right. It was Kaladin then Shallan, next is Dalinar? Or is it Szeth?

Brandon Sanderson

This one is Dalinar most likely. Then (probably) Eshonai, then Szeth. Unless I swap those two.

Back five are Lift, Renarin, Ash, Taln, Jasnah. Not necessarily in that order. (Though that is the planned order right now.)

I do have to give my standard disclaimer. Someone getting a flashback sequence does not indicate they survive until that book. I'm fully willing to flashback to a character who died in an earlier volume. So that isn't as much of a spoiler as it seems.

And Taln is defined as "The man who thinks of himself as the Herald Taln, and whose viewpoint we got briefly in Words of Radiance."

Brandon Sanderson

Stoneward

I will be there when I'm needed

Stoneward oaths focus on team dynamics, on learning to work with others, and on being there for those who need them. They put the interests of others before their own, and will not bend their Ideals for the sake of convenience.

Stonewards are the infantry and ground troops of the Radiants and are renowned as their finest soldiers. (A title that, on occasion, the Windrunners dispute.) They tend to attract those who are most interested in warfare, prowess with weapons, or athletics of any sort. They like a challenge, and in times of peace are seen engaging in (and running) various sporting events of both a military and non-military nature. Many enjoy the outdoors, and you’ll find exploration enthusiasts among them, as well as those who just like the fresh air. They tend to be known for their can-do attitudes and for taking on enormous projects (sometimes more than they can handle). However, most agree that the primary attribute of the Stonewards is their dependability. Though sometimes gregarious, they are never flighty. If a Stoneward is your friend, they will be there for you, and that is a core tenet of their Order—to be there when they are needed. Another key attribute is their ability to take a difficult situation with few resources and make something better of it. Though not known as inventors or creators, they are good at improvising solutions to problems in the moment.

staircasewit

You’ve mentioned some of the characters who we are going to see throughout the Stormlight Archive series (Shallan, Dalinar, Szeth, Jasnah, etc.). However, I don’t remember seeing you comment on Wit. Are we going to see Wit (or plain ol’ Hoid) more throughout the series? Or less? (Hopefully more! :D)

Brandon Sanderson

Hoid has a large part of the story in the Stormlight Archive. You will be seeing much more of him. However, he will not get a 'book' of his own, most likely. He will get his own novels, just not among the Stormlight sequence.

Cosmere.es

I remember that you said that we will have like tops two Kickstarters a year, one for books, one for products. This will cover like the product one.

Brandon Sanderson

Yeah. Yeah. Plan is for next year for there just to be one and then the year after for there to be two. But the goal is tops two. Like this year we technically had three because there was the White Sand preorder campaign and we feel like that could get out of hand very quickly. Everybody who works with us might want to do a Kickstarter now because they've been so successful so we're kinda making this promise to make sure that we keep ourselves in line as well and I feel very good about having done that.

Cosmere.es

So if the product for 2024 is like maybe the RPG would the book be the art book for the story?

Brandon Sanderson

The book is more likely to be the Hoid Storybook Collection. So The Dog and the Dragon, Wandersail, and The Girl Who Looked Up done as picture books slash kinda coffee table books. That's more likely. The art book is a challenge because you know there's just so much that goes into that sort of thing—Isaac would have to be so deeply involved and it's whether he can find the time or not because he wants to be writing stories in his free time. We'll see, I do think we'll eventually get like an art book and an encyclopedia out but I'm a little more excited by the Hoid storybook personally.

Cosmere.es

And fully illustrated—they are going to look gorgeous.

Brandon Sanderson

Yeah. I really would like people to have like—my goal on those is like The Dog and the Dragon to be like a traditional children's book, Wandersail to be more like a giant illustrated coffee table book right—more targeted a little bit older, and The Girl Who Looked Up to be something in between.

Brandon Sanderson

The train cars get swapped

I hope this will surprise a few people, but it's one of the more obvious twists I've had in my books. It's pretty well foreshadowed, and it's pretty much the only way this could play out, so I think the "inevitable" part of this twist is more powerful than the "surprising" part of it. That's all right for me, as I decided to give Miles viewpoints, which meant the "How is he doing it?" side of the mystery became less important to the story than his motivations.

That's part of what, to me, makes this book more of a "Brandon" book than a regular detective story. As I said in a previous annotation, I hope for this to be a fun page-turner, but it's still one of my books—which means that the worldbuilding and the characters are more important to me than the amazing mystery. (Which may not be all that amazing.)

Questioner

Are there still six different types of Aethers in current canon? Or has that changed?

Brandon Sanderson

They have expanded. I’m using the Aethers behind the scenes for a lot of space age things. And because I’m doing that, I am adding in a few more Aethers. There’s going to be some limits on this. I’m tweaking which Aethers I’m actually making, ‘cause some of them didn’t work as well as other ones.

There will end up being more, but I won’t canonize the number until I have the Aether book ready to release.

Falling Lore

In Rhythm of War Chapter 53, when Venli mentions that Leshwi seems to respect Kaladin, Leshwi hums to a rhythm that feels familiar to Venli, but she can’t identify it. What was that rhythm? And why did Venli’s powers fail to identify it?

Brandon Sanderson

So, this is at the point where Venli is not quite aware of the old… Both of them, what’s going on with them, is: there are rhythms of Roshar, and there are rhythms of Odium. And what’s going on is: Venli sometimes… Normally, when you become a Regal, you have all the rhythms of Roshar overwritten with the rhythms of Odium, and you can no longer use the pure rhythms of Roshar. And what’s going on here is: Venli used to know all of those rhythms by heart, and they’ve been stolen from her. And Leshwi is humming to one of those, instead. Not intentionally; kind of accidentally, because, again, they’ve been stolen from Leshwi, as well. And this just is an indication (and you’ll see them all around) that sometimes they’ll use the wrong rhythms, or the rhythms they’re not supposed to be able to use.

Brandon Sanderson

Map

The map for this book was done by the awesome Shawn Boyles.

For this book, I wanted something with an illustrated feel to it. The Mistborn maps were supposed to look realistic and gritty—like maps from London during the nineteenth century. I wanted twisting, cramped streets and a sense of overcrowding.

For Warbreaker I wanted a very different feel. I wanted a picture that looked hand drawn, something a little exaggerated and intentionally less accurate. Like a picture you might see hanging on someone's wall, vaguely showing the size, shape, and relative locations of important things in the city.

I picked Shawn because of his style. He has a very colorful, very round and smooth style, and I thought that would translate very well to a map of the city. Ironically, the first map he gave me looked very detailed and intricate, much like the Mistborn maps. He was trying way too hard, I feel—imitating the style of the previous books.

I asked him for something that was more natural to his style, something that was a profile view rather than an overhead view and had stylized houses. The second draft came back nearly perfect; I was very excited. The only problem with that one was that it wasn't big enough. (It was about half the size of the final product and didn't have the upper portion of the map where the city curves around the bay.)

One more draft, however, and we were finished. He did the artwork by hand on a large piece of cardstock, then scanned it and filled in details on the computer. I love the finished product. I wish we could have done colored end pages using it.

Brandon Sanderson

The magic systems for Elantris- the pitch to myself designing the world and magic systems was this kind of procedural-based, almost programing-based magic. Where in Elantris, you use these characters to program out a sequence of events that tells the power that's flowing through what to do.

What Shai is doing in this book is she carves a little seal. And the seal is very much like a little program, and she stamps it on something and uses that stamp to rewrite the history of the object. As long as the seal is there, the object thinks it has this other history. The example you see in the book is you know... an old dirty table that's not been cared for, she can write a seal for its history, she has to figure out what its history was first. And she can write out a seal that basically reprograms that past, so when she stamps it, it thinks it's been cared for all along and suddenly it gains this lacquer, it's beautiful, it's been well-cared for, because in that fake Forgery of the history, that's what happened to it. And that's what her magic does, which is why she's been hired to Forge a copy of the emperor's soul.

But, yes, the magic systems have the same root. And it's not just the Dor. I like the magics on a given planet to all have a consistent theme. And for Elantris they are these almost programming-like, very based on symbols and what-not. In Mistborn, it's based on the metals and the interactions of the metals.

Llwvyn

Hoid has said that what he does, when he heals or comes back to life or whatever, heals the soul

Brandon Sanderson

Yes.

Llwvyn

But Hemalurgy is like ripping off a piece of the soul. Could he heal that?

Brandon Sanderson

It is possible. Well, his particular brand of healing is very Spiritual Realm based. And so, it would-- he could. Not all brands of healing are capable. It depends on what's happening, and things like that. But yes, he would. Most Shardbearers [Surgebinders?] when they're in the throes of their powers would heal spiritually. *brief pause* Not all of them. Not all healing will do that, though.

Llwvyn

Yeah. Because I was thinking that maybe you could spike him multiple times and compound his power.

Brandon Sanderson

Yes. Spiking him could do some weird things though. But spiking can do weird things to anyone.

Questioner

Are you still going to do the ten-year release for this series [Stormlight Archive] as well, for the leatherbound?

Brandon Sanderson

In fact, probably, the plan is to do it as a Kickstarter. The reason for that being, we can offer a few little options of how you'd like it. I'll probably do a novella along with it. There's some people who will just want the novella, some want the story, some want both. So, it's really easy to track on Kickstarter.

So that's the plan. Next summer, if it all works out, we'll do a Kickstarter for it.

Brandon Sanderson

In this unpublished book, we call it Mistborn Prime now. It's basically the Mistborn magic system, fully fledged. A lot of the Mistborn worldbuilding. But, what happens is, there's this assassin guy who's, like, dark and grimdark and super darky darky-grimdarky. And he gets assigned to go to this town and find out what's up; they've got atium there, and they're not supposed to. And he's like, "Mm, where are they getting this? I've gotta go..." And his father's like, "Go find everyone and kill them and get the atium." And he goes there and he falls in with a crowd of nice people who treat him well and he doesn't know what to do with that. And has a character arc to where he goes back and defeats his father.

Brandon Sanderson

Okay, now, I know you're going to laugh at me here. However, I suppose you deserve to know the whole story of this book. After all, I told you about the whole "Adonis" thing.

Well, the thing is, the first version of the book included about two pages of poetry from Wyrn the King. I think every prose writer goes through a stage where we think, for some reason, that we have a talent for poetry. It's doubly bad in fantasy, where we've all read Tolkien, and felt like adding poems, songs, and the like to our stories.

The thing is, most of us aren't very good at it. Wyrn the King was a narrative alliterative poem patterned after Beowulf, and it was TERRIBLE. I might be masochistic enough to post it in the "deleted scenes" section of the website. I'm honestly not sure yet. (Actually, I wrote the poem as a college assignment. I wiggled out of doing something research-oriented by somehow convincing my teacher that I deserved to do a creative project instead. When I finished, I felt a little bit obliged to stick it in my current book, as I'd told my teacher I would. Sorry, Dr. Thursby, but. . .uh. . .it didn't make the final cut.)

Anyway, there was a point behind sticking the poem in the text, even if I completely overshadowed it by including so many lines of poetry. This section is really all we get in the book itself about Fjorden's past. As I've explained in the annotations, Fjorden switched to Shu-Dereth to do its conquering, relying on religion rather than armies. When they did so, they went back and rewrote many of their great classics. (Orwell would be proud of them.)

This is actually based on some events in our world. Some scholars think that Beowulf underwent similar revision, the monks who copied and translated it adding Christian symbolism to the text. After all, no great artist could possibly have been a true pagan. Everyone knows that Aristotle was a Christian–and he died before Christ was even born!

Questioner (paraphrased)

I'm 42. How long do I have to live to read it all? Am I going to make it?

Brandon Sanderson (paraphrased)

Well, I'm 40, so at least three years longer than me, but don't worry, we'll get there.

Brandon Sanderson (paraphrased)

Shadesmar- you can WALK to the other planets. It’s a pretty far ways away (at least days, if not more), but you can go to Shadesmar, walk in the directions where it says "The Realm of the Vapors" and it runs into Scadrial (which is confirmed). In Shadesmar all of that empty space doesn't really have any human interaction, so it doesn't really have an aspect in the cognitive realm, so all of that place gets shortened immensely. Whenever a planet has enough thinking life on it that's it's considering it a planet, it drops into Shadesmar.

Eventually, he’ll come out with a Shadesmar map of the Cosmere, and a Starmap as well.

Questioner

Is the reason Dalinar rejects the Thrill because he has a connection to Honor through his visions from the Stormfather?

Brandon Sanderson

…Is the reason that Dalinar rejects the Thrill because he has a connection to the Stormfather through his visions?

Questioner

Yes.

Brandon Sanderson

The answer is yes, this is parti-- this is in play. Though you could say the two of them have a si-- The reason he has a connection to the Stormfather also influences the reason that he rejects the Thrill, so it may be more correlation than causation, but there's at least a little causation as well.

Personification

Was there a similar things like the ten Highprinces were like-- What were the different roles that each Highprince could hold?

Brandon Sanderson

The Highprinces were more like warlords fighting for and squabbling for land, they were not good at anything like that. So they were more like warlords.

Personification

But the Highprince roles though?

Brandon Sanderson

Oh, the Highprince of? Yeah. They did have the official things like that and when it was working, way back in the day, you could probably align them-- I don't even know if you could align those to Radiants--

Personification

I wasn't saying the order of the Knights Radiant, I was saying just like, what role did they have?

Brandon Sanderson

Well, they would be pretty official, but if you're going back in the day, to where it actually worked, then they would have distinct roles that they would fulfill, and they would kind of be like-- Imagine the cabinet of a country.

Personification

I was wondering if I could have some specifics on the names.

Brandon Sanderson

Oh, I can't do that right now. I might be able to dig that out of the notes, but I've remained flexible on some of those things because I don't want to name them all, specifically.

Questioner

I was wonder when all the continuity will come together?

Brandon Sanderson

You'll see it coming together all through the series. But the series that's really important for that is the third Mistborn trilogy.

So when I pitched Mistborn to my editor. This was years ago, almost ten years ago now. I sent him Elantris. It sat on his desk for eighteen months. He finally read it, called me the next day, and is like, "I need to buy this!" I'm like, "Great, finally." This was the early days, when I was trying to break in. He said, "What else do you have?" And I sent him The Way of Kings. And then he called me terrified. Because, if you don't know the story, The Way of Kings was the book that I wrote after I just assumed no one was ever going to publish me. I was sending out books and getting rejected. My thirteenth novel (I had written thirteen unpublished books), and I'm like, "No one's gonna publish me. They're telling me my books are too long. I'm gonna write one that's even longer. That has all this screwy stuff. And it's gonna be, like, my opus. And it's gonna be my 'Too bad for you guys you'll never publish this.'" And then someone wanted to buy my books. And I'm like, "Oh, great." And so I sent them Way of Kings, and he was just like, "What do we do with it? This is awesome, but I can't publish this by a new author." Because, if you look at The Way of Kings, the endpages, those cost a lot of money per copy to print. The nice paper we use so you can see the artwork costs a lot of money as well. Every copy costs a little bit extra. And that really cuts into the publisher's profit. And so they need to be printing a lot of copies for it to justify itself. That's basic economics, right? So, for a new author, either I had to decide to cut it and not include all this artwork, or I had to do something else.

So I said, "I've got this idea," and I pitched him Mistborn. And my idea on Mistborn was that it was going to be a set of three trilogies. An epic fantasy trilogy, a contemporary modern-day trilogy, and a science fiction trilogy set in the same world where the magic had become the means by which space travel happened. And so, I built into the magic systems space travel. Which is another discussion. I won't talk about that one. So, I pitched him this grand epic of nine books. Which the Wax and Wayne books are not part of, by the way. They are just me having fun with the world. So, you will eventually get to the official third Mistborn trilogy, which is a space opera. Science fiction. And then you will start to see a lot of things coming together that have been seeded for a long, long time.

Questioner

We’ve been arguing about how to pronounce the character, either it’s “Say-zed” or “Sayzd”?

Brandon Sanderson

Right, that’s one of the most contentious name decisions that I’ve chosen. Before I tell you the answer, I will preface it by saying I don’t say the names right, in a lot of times. For instance I say “E-lawn-tris” like everyone else, but in world they say “Elayn-tris” because of the system of language that’s been built. I say “Kel-seer” and they say “Kel-see-ay,” in-world. And so I’m American and I use my pronunciations I say “Say-zed”.

However, that may not be the way they actually say it. And beyond that, every reader of a book has the ability to rewrite the book as they wish. A book doesn’t exist until you’ve read it. I write a script, I write- I get you hopefully seventy five percent of the way there but the last twenty-five percent is you, it’s participatory. And as you write, you create the images of them in your own imagination and that becomes the right interpretation for you. And you have line [inaudible] veto.

When I read Anne McCaffrey’s books the dragons are these unpronounceable things in my head that I could never actually because it’s just something a dragon can say. And it has very little relationship to the letters that are there on the page. I have a friend, who when he reads the Wheel of Time- the first time when Thom Merrilin shows up in the books, on screen, it says he has these big drooping moustaches. My friend said, “No he doesn’t.” And he cannot imagine Thom Merrilin with a moustache. To me, the moustache is an integral part of who Thom Merrilin is. It’s like him, he’s the moustached guy! Well, theres a couple other moustached guys but Thom’s the first moustached guy in the Wheel of Time! And so, you have the right to say it however you want.

PrncRny (paraphrased)

Is the flute that Vin saw in the Lord Ruler's secret room in [Well of Ascension] the same flute that Hoid gives to Kaladin in [The Way of Kings]?

Brandon Sanderson (paraphrased)

RAFO. The origins of that flute will be revealed at some point.

Vivasher Club Emo Teen (@skywardflights)

I know people who relate a lot to Shallan's arc due to how similar her personalities are to Dissociative Identity Disorder. Did you intentionally write her to be recognizable DID?

Brandon Sanderson

I did, but I shied away from it in the earlier books, because I knew I was going to be doing fantastical things, and I didn't want to be offering too much commentary on DID. That was kind of my worry. With Kaladin, I knew depression well enough from family members and things that I felt like I could be a very strong contributor to the conversation. But, I started with Shallan saying, "I don't know if I'm gonna go this route." But then, the further I went, the more I felt it would be irresponsible to not do this. And so, in the last books, I just bit the bullet, dug really far into the DSM-5 and into reading firsthand, primary accounts from people. We got a very helpful person with DID to be one of our beta readers for this last book. And I just did my best to present it accurately and to present the non-Hollywood version of it. And so, basically, Oathbringer and Rhythm of War lean into it a little more than the first two books do, though that was where I was going. And I do have a working knowledge of Dissociative Identity Disorder, and did even back then. I don't think I did a terrible job, but I think it would have been irresponsible for me to go forward without digging in a little further.

Questioner

So in Scadrial we know that Allomancy is end-positive, and Hemalurgy end-negative, and Feruchemy is neutral, right? Is there such a concept on Sel, with the magics?

Brandon Sanderson

All of the magics on Sel, every one of them, is end-positive.

Questioner

Okay. And what fuel-- well, it's not a fuel. What focuses it? It's-- no, not that too.

Brandon Sanderson

They all draw power from the Dor. None of it's coming from the people. That's what this refers to, right?

Rhapsody (paraphrased)

How much freedom do you get from Brandon for the maps and symbols and so on?

Isaac (paraphrased)

I get a lot of freedom with the maps. There were actually times we've changed parts of the books to fit the maps.

Rhapsody (paraphrased)

May I have an example?

Isaac (paraphrased)

We changed around directions in the Kholinar chapters a lot.

Rhapsody (paraphrased)

And the glyphs and other symbols?

Isaac (paraphrased)

For the glyphs I have a symmetry tool which I play around a lot with. We developed the glyphs later in full from those images we liked.

For the Allomantic symbols I had a couple different ideas which didn't seem to work well. Then I had an idea about a bunch of nails lying around haphazardly and from that image the Allomantic symbols evolved.

diffyqgirl

What is writing plot twists in a world with online theory forums like? It always seemed to me like it must be incredibly hard to be clever enough that the theory forums don't figure everything out, while still dropping enough hints to keep the casual readers from being confused. As an example, while there were plenty of surprising things in Oathbringer, I had kind of forgotten that the characters didn't know that humans aren't native to Roshar.

Brandon Sanderson

Well, there are a lot of ways to look at this. The one you highlight was a particularly tricky one, because the books have to work on multiple layers. First, they have to keep the hardcore fans interested. Secondly, they have to work for what the characters know. But thirdly, they can't be so obtuse that they edge out the readers who don't follow every detail on the forums.

With the specific element you mentioned, I tried to layer a reveal that would act as a twist for the readers with a separate one that would shock the characters (but which the majority of the fanbase had already figured out.) But on in the long run, I've realized that trying to one-up the fanbase is a bad path to go down--I have to accept that people are going to guess what I'm going to do, because there are only so many rational things that are in-character that the characters can do. And going outside that requires either bad characterization or bad foreshadowing.

Therefore, one of the best methods is to point the tension away from certain questions toward others that depend on character strength. For example, "Will modern Knights Radiant be able to get armor?" is a weak question, and one that is pretty obviously answered in the books already. But "Will this character be able to work out their issues enough to progress in the oaths" is a stronger question, as it is in doubt--and depends on how the choices the character makes.

Given the option, though, I'd rather live in this era where I can get away with stronger demands upon readers in terms of continuity than you used to be able to reasonably do. I think it makes it easier to do the types of stories I like to tell.

WeiryWriter

You've mentioned in the past that you'd really like to do an art book of all the unused and supplementary art done for the Stormlight Archive that doesn't make it into the books. Are there any other projects that you'd love to do, if not now than at some point in the future?

Ben McSweeney

Well, as an animator/storyboard artist by day, it's no surprise that if Stormlight were to be optioned for animation I'd want to be all over that in as great a capacity as allowed. But that's kind of a cheat answer... I'd like to do more comics work, if I could find a way to make it balance. I've been enjoying the hell out of Gary Gianni's work in George R.R. Martin's new collection of the Dunk & Egg novels, a project like that could be fun. Honestly, right now I'm in a nice place with a lot of fun stuff on my lap, so as long as I can keep that rolling I'm feeling good.

pundromeda

Some people on the Secret Project 4 planet wear long white coats, and wide brimmed hats appear to be popular as well. Does this have any significant connection to the very similar outfit that Veil wears?

Brandon Sanderson

RAFO

Chaos

How much do you plan in the cosmere? There were a few things in Rhythm of War [that went in] a different direction, like anti-Investiture, that black sphere Gavilar had in the prologue being anti-Investiture, and Testament and Shallan, were those always part of the plan or options?

Brandon Sanderson

Those were always options. Anti-Investiture has been pretty core for a long time, there are a couple reasons for this. Number one I need to get certain resources into the cosmere for use in the future, and anti-Investiture is one of those. Another reason is I want to push Stormlight Archive more towards magic-tech, because I'm pushing Mistborn more towards Earth analog with Earth technology and then some cool fantastical things thrown in, but when you're using the technology. When you're using a radio on Scadrial, it's a radio. You know what a radio is. It works based on radio principles, and maybe you can do some wacky things with weight, but an airship is kind of an airship to them where as I want Roshar which is on the opposite end of that spectrum. Where an airship on Roshar is not an airship like you would imagine. Its not being propelled in normal ways it's working off all these weird magical things. And anti-Investiture was an important thing to get into the series for the future for that reason.

From book one I knew I needed magical healing for Roshar, [for] the stories I wanted to tell to work. And I needed some really powerful magical healing. Particularly for the Knights Radiant, because of the stories I wanted to tell, this meant I was going to be very much under cutting the danger of physical violence in The Stormlight Archive as we move forward as the characters became Radiants. It is really hard to kill a Radiant in combat and there need to be foils to that. 

Beyond that from the first chapter of the first cosmere novel Elantris, death has not been the end. [hosts laugh] We start the first book with someone being resurrected. That's one of the main themes of the cosmere is a second chance at life. This is Raoden's story, this is Lightsong's story, this is Kelsier's story, this is a major theme of the cosmere, and I needed to be introducing into the cosmere a "dead is dead" mechanic. And I considered Shardblades for that for a while, before I even released Stormlight. No, it can't be Shardblades, because I can't have every battle - once lots of people have Shardblades then there's no purpose to the magical healing. So I needed another tool for the late part of the cosmere, when people have figured out Cognitive Shadows; How do you destroy a Cognitive Shadow? Well there are ways, but throw some anti-Investiture at them and that's guaranteed, you are gonna kill that Shadow, and I'd been pushing towards where to get this in, and this book felt like the right place. It was either this book or book five, and where it settled into this book is where I finally made the decision that I was gonna let Navani be a main character, which she had been pushing to be for a while, and I'd been pushing back. No, I deserve to have a scientist, an actual straight up scientist main character in The Stormlight who can dig into some of this stuff. I can self-indulge by doing that, as long as I balance it with Kaladin behind enemy lines fight sequences and things, for a more traditional structure. Because Navani's scenes do not have a traditional structure. They're like "we're going to do science now! But we're making up the science also?!"

Brandon Sanderson

Human Enters the Tunnels

And here we also get some Human viewpoints. I believe I mentioned that he'd be returning. I didn't manage to do very much with him, but my alpha readers demanded something. (These two short scenes with him, as well as the epigraph saying he'd be back, were added in a later draft.) I figured that he deserved a little more screen time after what he'd done for the team, and I had wanted to show the koloss bursting in on the Trustwarren. This seemed like a perfect answer to both problems.

As I've said, I wished I could work Human in a little bit more. At least this lets us give him a parting goodbye.

Use the Falchion

Wondering about a Mainframe release schedule.

Brandon Sanderson

Right now, we are focused on the Skyward novellas, which are going to come out with the ebooks. We're doing ebook and audiobook together on this one, just because it's an ongoing series, and I felt locking those behind audiobook is not as appropriate as it was with something like Lux, where it was being created specifically (like, I wasn't planning to write the book) for the audio.

The things that we're mainly working on how is: Dark One, the novelization with Dan Wells. Once we get the Skyward ones done, then our attention turns to that. Dan actually just sent in a first draft of something he's been working on related to that that I told him I would read before October, once Wax and Wayne revision is done. I'm excited by that.

But first, I want to keep eyes on these Skyward releases, because they're really gonna determine what we're able to do in the future in this realm, because the publisher is putting a lot into them, and is worried (like I said earlier) about the release schedule that I have asked them to use.

Those are the main things, and I think that and then Legion: Death and Faxes is the last of our first group of Mainframe projects. And that one, we have a draft of, also.

Stevie B Art

We're studying King Lear in English, and I noticed that the character of The Fool is very much like Wit. I was wondering if you've ever read King Lear, and did you write Wit to be like him?

Brandon Sanderson

Yeah, Wit comes from The Fool from King Lear, and Twelfth Night also has one. The jester character in Shakespeare is a direct inspiration for Wit. I love them. Particulary, the fool in Lear. Lear is one of my favorite stories, and even to this day, maybe The Fool... it might be Kent who says it, says "See better, Lear." That line is one of those succinct, beautiful, powerful lines that's burned into the back of my brain that I read way back when I was in high school, and I have since experienced King Lear. Usually, I like to go to Shakespeare, rather than read Shakespeare, for obvious reasons.

I would say, though, I was already writing Wit at the time, the fact that Robin Hobb did such a fantastic fool character in The Assassins books, that fool definitely had an influence on my as well. One of the things I always wanted to do with Wit was to make sure that he felt different from just another court jester, because I'm assuming I'm not the only one inspired by Shakespeare to create a character similar. And I spent a lot of time early in my career, in the unpublished days, saying "What's gonna make Wit, what's gonna make Hoid different from just another jester?" And I spent a lot of time on that. And when I publish, eventually, I'll let you guys read Dragonsteel. He reads way more like a Shakespearean fool in Dragonsteel than he eventually became in the later Cosmere books, once I was getting published.

Questioner

Can all spren imprint on someone—like Syl has with Kaladin—or is this ability special to certain types of spren? (I just got a mental picture of a flamespren taking notice of the pyromaniac noble girl from the castle market exercise in your JordanCon talk. Not sure that would end well.)

Brandon Sanderson

It is special to certain types of spren. There you go, a non-RAFO.

Brandon Sanderson

Chapter Sixty-Three

Wedding

Well, Sarene finally gets her wedding. I hope the women don't kill me for showing it from Raoden's bored viewpoint rather than Sarene's excited one. However, there were a lot of things I needed to go over in a relatively short period of time here.

When I was younger, I always got mad at authors for having denouements that were too short. Perhaps I'd be angry at myself, if I were to read the book. (I've always wondered what Brandon the teenage reader would have to say about my current works.) Regardless, I've since become a fan of terse endings. I try to wrap things up thematically while still pointing out all the different ways the plot could go, if more were to happen.

Stories never really end. Any author will tell you this–we've always got more to say. That doesn't mean that there will certainly be a sequel to this book. (See below) It just means that the characters live on in my mind, and that I want to give a sense that the world continues.

Brandon Sanderson

Chapter Twenty

I worry a little bit about this chapter. The problem is, it's probably one of the chapters that has undergone the most revisions. Not in a "Fix problems" way–more in a "I need to add scenes to the book. Where shall I put them" kind of way.

For instance, the beginning has a few paragraphs that–looking at them now–I think drag on a bit. The reiteration of Vin's relationship with Shan, for instance. I put it in because I need to indicate that time has passed, and that Vin's relationships have continued, but I worry that I spent too much time on it at the beginning of the scene. Next, I added another scene showing skaa life (the one with children shaking the trees) in order to remind the reader of how bad things are. Then, later on, I changed the book to have canal convoys rather than caravans. So, this chapter got some more revisions. Then, I added a lot to the scene with Marsh, including Vin’s discussion of her mother.

All in all, it feels like a hodge-podge chapter to me. A lot of important information is explained, but it doesn't fit together as well as I might have wanted. The rhythm of the chapter is just a little. . .off.

I'm not certain how interested people are in the real theory of Allomancy and how it works. However, I do think that some people like to hear the theory and background to magic systems like this, so I try to include the occasional explanation. For those of you who don't fit into this category, I apologize for Marsh's lengthy explanation here.

Brandon Sanderson

Sazed and Vin Talk to Penrod

Penrod, by the way, is shell shocked. He's not thinking clearly–he's lost it because of the horror of what he's seen and been through. He was at one of the gates when they fell–he didn't just hide in the keep all the time.

The scene where Vin walks away with the koloss in the mists, sword over her shoulder, all of them making silhouettes. . .well, that's one I wish someone would do an artistic rendering of sometime.

Sethel

What color of Magic [the Gathering] decks would some of your characters play?

Brandon Sanderson

It's going to depend on the character right? I often say Kelsier is black-blue. I feel that Vin is red-green probably. And Sazed is about as mono-white as you get. It's going to depend on the characters. Kaladin is pretty mono-white, though some of his powers are blue based so you could make a very good argument <for that.> That's the thing in Magic, you have both personalities and power suites of characters influencing what colors they [are] and what they would play. So you get Kaladin where personalty: white, power set: blue, would be pretty common. Dalinar is going to be mono-red for most of his life moving slowly into white-red. And you'll get someone like Jasnah who is very mono-blue with some touches of black or Shallan who is also just mono-red.

Brandon Sanderson

As I was developing the Cosmere, I knew I wanted a few threads to span the entire mega-sequence, which was going to cover thousands of years. For this reason, I built into the outline a couple of "core" series.

One of these is the Stormlight Archive, where we have the Heralds who span ages, and which I eventually decided to break into two distinct arcs. Other series touch on the idea of long-standing characters. Dragonsteel, for example, will be kind of a bookend series. We'll get novels on Hoid's origins, then jump all the way to the end and get novels from his viewpoint late in the entire Cosmere sequence.

With Mistborn, I wanted to do something different. For aesthetic reasons, I wanted a fantasy world that changed, that grew updated and modernized. One of my personal mandates as a lover of the epic fantasy genre is to try to take what has been done before and push the stories in directions I think the genre hasn't looked at often enough.

I pitched Mistorn as a series of trilogies, which many of you probably already know. Each series was to cover a different era in the world (Scadrial), and each was to be about different characters—starting with an epic fantasy trilogy, expanding eventually into a space opera science fiction series. The magic would be the common thread here, rather than specific characters.

There was a greater purpose to this, more than just wanting a fantasy world that modernized. The point was to actually show the passage of time in the universe, and to make you, the reader, feel the weight of that passage.

Some of the Cosmere characters, like Hoid, are functionally immortal—in that, at least, they don't age and are rather difficult to kill. I felt that when readers approached a grand epic where none of the characters changed, the experience would be lacking something. I could tell you things were changing, but if there were always the same characters, it wouldn't feel like the universe was aging.

I think you get this problem already in some big epic series. (More on that below.) Here, I wanted the Cosmere to evoke a sense of moving through eras. There will be some continuing threads. (A few characters from Mistborn will be weaved through the entire thing.) However, to make this all work, I decided I needed to do something daring—I needed to reboot the Mistborn world periodically with new characters and new settings.

So how does Shadows of Self fit into this entire framework? Well, The Alloy of Law was (kind of) an accident. It wasn't planned to be part of the original sequence of Mistborn sub-series, but it's also an excellent example of why you shouldn't feel too married to an outline.

As I was working on Stormlight, I realized that it was going to be a long time (perhaps ten years) between The Hero of Ages and my ability to get back to the Mistborn world to do the first of the "second" series. I sat down to write a short story as a means of offering a stop-gap, but was disappointed with it.

That's when I took a step back and asked myself how I really wanted to approach all of this. What I decided upon was that I wanted a new Mistborn series that acted as a counterpoint to Stormlight. Something for Mistborn fans that pulled out some of the core concepts of the series (Allomantic action, heist stories) and mashed them with another genre—as opposed to epic fantasy—to produce something that would be faster-paced than Stormlight, and also tighter in focus.

That way, I could alternate big epics and tight, action character stories. I could keep Mistborn alive in people's minds while I labored on Stormlight.

The Alloy of Law was the result, an experiment in a second-era Mistborn series between the first two planned trilogies. The first book wasn't truly accidental, then, nor did it come from a short story. (I've seen both reported, and have tacitly perpetuated the idea, as it's easier than explaining the entire process.) I chose early 20th century because it's a time period I find fascinating, and was intrigued by the idea of the little-city lawman pulled into big-city politics.

Alloy wasn't an accident, but it was an experiment. I wasn't certain how readers would respond to not only a soft reboot like this, but also one that changed tone (from epic to focused). Was it too much?

The results have been fantastic, I'm happy to report. The Alloy of Law is consistently the bestselling book in my backlists, barring the original trilogy or Stormlight books. Fan reaction in person was enthusiastic.

So I sat down and plotted a proper trilogy with Wax and Wayne. That trilogy starts with Shadows of Self. It connects to The Alloy of Law directly, but is more intentional in where it is taking the characters, pointed toward a three-book arc.

You can see why this is sometimes hard to explain. What is Shadows of Self? It's the start of a trilogy within a series that comes after a one-off with the same characters that was in turn a sequel to an original trilogy with different characters.

Questioner (paraphrased)

Do you miss characters when you “write them out”?

Brandon Sanderson (paraphrased)

Nice euphemism. I miss writing for them but it doesn’t shock me because I generally planned it that way, so I have time to prepare. I don’t see myself as killing them. Instead, I allow them to take risks and pay the price for those risks. Mostly, I know well in advance what will happen to a character. Just occasionally, though, the plot will suddenly take me to the point when something has to happen, then I have to go back and re-write the outline. I don’t sit there and think, “Now who won’t they expect me to kill," although I suspect some other authors might do that. *laughter*

Questioner

We’ve seen several groups throughout the cosmere that have the express purpose of collecting Investiture from the various systems. I have a fear that there is a group that is going to (either now or sometime in the future) go around collecting Investiture specifically through Hemalurgy.

Brandon Sanderson

Which is theoretically possible and horrifying to consider.

Questioner

So my question along those lines was: what happens when you use a Hemalurgic spike on an Aviar?

Brandon Sanderson

You are a very mean person. Basically, an Aviar’s got a mini-bond, so it’s gonna work in a similar way to what would happen if you were trying to do it to a Knight Radiant, which I’ve talked about in the past. Which means it is a less effective way to try to steal something with Hemalurgy, because once you’ve got two individuals involved in it… The Aviar, obviously, isn’t exactly the same. But it’s going to work, but it may not last, I guess is the answer I would give you on that.

Questioner

If that Aviar is already bonded to a person, how does that spiking affect the person they are bonded to?

Brandon Sanderson

That bond will last, but how long? Who knows. Basically, you’re gonna fool the system into thinking you’re the Aviar if you have done that. So the system is going to assume that’s what you are.  They’re gonna see you as the bird if you put the spike into yourself. But, because there are multiple individuals, things like this, and you’ve got the whole thing with the Aviar and their symbiosis, and things like that. It is not gonna work nearly as well as stealing something from, say, a Feruchemist or an Allomancer.

ladyknightradiant

Have we seen all four of the genders for the Parshendi?

Brandon Sanderson

Yes. 

ladyknightradiant

So it's more than just malen and femalen?

Brandon Sanderson

Well, male and female. So, basically, in my original notes I was trying to decide if I should call them [something else?] but they-- eventually we ended up-- It's basically, they have a male neuter and female neuter, and then a male and a female. So yes, there are four genders. [...] And, if you can't tell, the malen and femalen are both asexual, completely.

Questioner

Your magic systems, they're genius.

Brandon Sanderson

Oh thank you very much.

Questioner

There's a certain subtlety to them that doesn't overtake the story which in some books could easily happen. How early on in your process do the magic systems have to be looked at an really put into place?

Brandon Sanderson

Every book is different. For some books the idea is a plot idea that starts me and for some books it is a setting idea--and magic systems are setting ideas in my head--and some its a character idea. With a character idea its usually a conflict, "that's an interesting conflict, what can I do with that" With magic systems it's usually "this will allow me, as a writer-- it will force me to stretch. It will have interesting limitations, it will do interesting things visually on the page, it will change the world in a very subtle yet important way that then I can explore" If we change one little piece of physics what does it do to the world, this sort of thing. I'm usually getting a lot of my ideas from reading science articles and things like this. Stormlight Archive is based off the fundamental forces, Mistborn is based off of vector physics and metabolism and things like this. These ideas-- I like having one foot in science and one foot in superstition for these magic systems. I usually don't start a book until I've fleshed out the magic system pretty well. That said when I was doing Stormlight Archive, the version that you have read I didn't have the terminology and how it was going to feel for the lashings until I wrote Szeth's opening scene, and that was where I really nailed down how this would look on the page and how it would feel. Sometimes you just need to write, you can't just plan endlessly and not write anything. But most of the time I have that nailed down. If people are interested in this you can look up my essays on writing magic systems, I think they are fun, but I humbly titled them Sanderson's first law, second law, and third law. So I think highly of them. You might find them interesting. They talk about my philosophy on writing and on magic systems.

Ray745

Graves tells Kaladin and Moash that with Elhokar out of the way, Dalinar would become king and be much better for Alethkar. Obviously Graves isn't totally truthful with them, he is working for the Diagram and wants Dalinar to be king in hopes he becomes the Blackthorn, the warlord, and provides no real competition to Taravangian in becoming king of everything. However, in the scene when Kaladin faces down Graves and Moash, Graves makes a comment on how it was too late, and he just had to keep Kaladin away from Dalinar, presumably so Szeth could assassinate him. Then the last we see of Graves, he is talking to Moash and says

I thought for sure my interpretation was correct, that if we removed Elhokar, Dalinar would become our ally is what is to come.

How would Dalinar become their ally if Graves was purposely keeping Kaladin away from Dalinar so Szeth could kill him? Is Graves lying to Moash there? That part I never fully understood. It seems as though Graves understands Dalinar is going to be assassinated, yet from what he says to Moash at the end he seems to expect Dalinar would not have been killed.

Brandon Sanderson

Graves is supposed to (though people missed this, so perhaps I didn't do it well enough) indicate that the Diagram is not simply one group, following Taravangian. They follow the diagram itself, not him, and some think his interpretations are wrong.

Graves was ordered to remove the Alethi leadership entirely--though Taravangian was sending Szeth after Dalinar (the more dangerous one) and Graves was to remove Elhokar. Graves, however, interpreted the diagram differently. He thinks that Dalinar cannot be killed by Szeth, or anyone, and is hoping to remove Elhokar, have Dalinar step up, and help them. He has passages of the Diagram that indicate, to him, this is the natural outcome of removing Elhokar.

The actual passages, and what it is they're trying to accomplish in specific, has yet to be revealed in full.

Questioner

Does it mean anything different for you now that this is your own stuff, rather than the Wheel of Time?

Brandon Sanderson

Here's the weird thing. The Wheel of Time feels as much my own, even though probably, it shouldn't. The Wheel of Time is Robert Jordan's, let's be very frank on that. But the characters feel as much my own as Dalinar does. And the truth is, I knew Rand and Mat before I knew Dalinar, because I picked up the Wheel of Time in 1990, and I started writing Dragonsteel in '91. And so, I've known those characters longer than I've known any of my own characters. Even Hoid, who was there in that first one. He came after the Wheel of Time. And so, when I said yes to Harriet on the Wheel of Time, I did it... I mean, it was a fantastic opportunity. But I did it because this is something I would legitimately want to be part of. And I've talked before about some of the exciting things. Like, for years I'd been playing with a teleportation-based magic system, like gateways, because I had been reading Wheel of Time books and I'm like, "This is where that magic could go!" And I had it all sketched out in my notes. And then I had written, "I can't ever do this. It is too similar to the Wheel of Time."

And then the Wheel of Time... I was writing it. And I'd be like, "Well, here are my notes on how to manipulate this magic system," because I'd spent years wanting to do this. And Perrin is, like, my high school friend. I was one of these nerdy, bookish people, who my friends were my characters in the books. (And, yes, I wasn't that lonely. I did have real friends.)

So, does it feel different to me? No, it really doesn't. I mean, I'm really proud of this. I've been planning forever for this. So, this is my baby. But... When I was offered the Wheel of Time, one thing about it was, when Harriet gave it to me... Finding somebody to finish the Wheel of Time had been a dying request from Robert Jordan for her. She didn't grieve until she found someone to do it, and then she went and grieved for a year, and left me basically on my own. Now, when it came to editing, she then came in as an editor and had a very strong hand and was very important that she do that. But in the process of outlining the three books, writing the first one, and deciding on the plot archetypes and all these things, I did that basically just me and Robert Jordan's notes. And there was a large amount of ownership that Harriet allowed me to take, even though it's made very clear, "The Wheel of Time is not mine." But the characters kind of are mine, in the same way they're all of yours, if that makes any sense.

So, no. It's a long answer, isn't it? One question I get a lot, people ask me, "Does it hurt to kill off characters? Does it hurt to have characters that you don't get to write about anymore?" And usually, my answer is "No." Because I have built a plot arc for years when I'm writing a book, where I know what risks that character's going to take, and I build into it then the consequences of those actions. And it's like, they demand to be allowed to do this, and then there is a ramification. And when I actually write it, yes, there's a sorrow to it, but at the same time, it's fulfilling what that character wanted to do for years and who they are, if that makes any sense. So, they are then done, and I don't feel a need to write any more about them. I'm not gonna mention any names, not give spoilers, but for a lot of these characters, I'm like, "No, I don't feel a need to write any more stories, because I told the story that they needed to have told, and that feels awesome."

The exception is the Wheel of Time. Because, in some ways, the Wheel of Time is the only one... Now, I made the decision that no more Wheel of Time books should be written. It really belongs to Harriet, but when Harriet... She actually asked me what I thought we should do, and I was very up front with "No more Wheel of Time should be done." Because Robert Jordan didn't want it to be done. But the only ones that hurt are not being able to write more stories about some of those characters, because I don't feel their stories are completely told, and I don't feel that I can. So, that is painful. I feel it's good. It's the pain of having lost Robert Jordan. So, it's not a good pain, but it's a necessary pain. And it's a pain that I shouldn't relinquish by simply going and writing all these books, but that is a pain. Not being able to tell the stories of these characters that I really feel didn't quite get told. So you'll have to tell them all in your own head.

The Dragon Knight

Are we gonna see any dragons in action in the cosmere before the Dragonsteel novel?

Brandon Sanderson

Maybe. Once again, there are some more Anne McCaffrey style dragons in the cosmere; maybe I’ll get around to doing that. Otherwise, if you want to see dragons in action… then we’re talking about… I mean, well, Cultivation’s been doing a lot!

Brandon Sanderson

Okay, here’s another little segment from my Tor proposal. This was the section that got the most attention, which is good, since I delivered a finished copy of MISTBORN to my editor that day. The way things are going, this will be the book that comes out after ELANTRIS.

MISTBORN SERIES

Mistborn, Book One: The Final Empire is my most recent work. I wrote it this year, and it’s the first book I wrote completely knowing that I was now a ‘published’ writer. I wrote the book knowing that my audience would probably have read Elantris, and I wanted to craft a book that would impress them even beyond what they had experienced before. I was worried that The Way of Kings (discussed below) was too different from Elantris, and might disappoint readers.

I pitch Mistborn as a combination between Hobb’s Assassin’s Apprentice, my own Elantris, and George Clooney’s Ocean’s Eleven. Mistborn is the story of a typical fantasy world: One where a young peasant hero came along, fought an evil dark force—only he failed. A thousand years later, the world is dominated by the Lord Ruler, a dark, god-like tyrant. The people have been enslaved, ash and soot rain from the sky, and plants grow wilted and brown.

In this setting, a group of daring thieves determine to overthrow the Final Empire. However, they’re going to do it like thieves: They plan to steal the Lord Ruler’s fortune while at the same time undermining his financial base of rule, hoping to cause the collapse of his empire. Using a mixture of magical skills, the team begins their bold plan—but ends up getting themselves involved in something more daunting than even they imagined.

Mistborn has one of the most unique, interesting magic systems I’ve ever created. In addition, it has a marvelous setting. Plagued by a smoky red sun by the day, cloaked by an aura of mist at night, the visual setting of this world is unique and interesting. MISTBORN shows off what I do well as a writer. It has an original setting, a clever, rule-based magic system, witty side-characters, and an interesting growth character at the center of the story. The ending is full of twists and surprises, and it launches the story quite nicely into a larger plot while at the same time giving a strong resolution to the first book.