Found 1954 entries in 0.155 seconds.
Knowing that you have already stated that the Listeners aren't originally of Odium or of Cultivation. Is it possible that they could actually originally be of what opposes Adonalsium?
I'm going to have to RAFO your question; good question though.
I was wondering in which ways has the LDS religion/theology influenced your writing? I mean, aside from trying to keep your books relatively clean and accessible. For example, it seems like the oaths of the Knights Radiant have some similarity to LDS covenants.
I don't think being LDS can help but influence my writing, though I personally follow Tolkien's philosophy: I stay away from specific allegory. I just try to write the best story I can, staying true to what the characters believe (or don't believe.)
So while I don't doubt that people can find parallels, I leave that for readers to theorize about. Most are not intentional, but that doesn't mean they aren't real.
Are there any specific ways you feel like it has shaped your writing in a more general sense? An obvious example, I expect, is the general avoidance of explicit language and sexual content. (something I, for one, appreciate) Does anything else like that come to mind?
Of course I mean that in a roundabout way. It would be rather strong to say that Mormonism directly affects the writing you produce. I'm sure you don't write explicit sex scenes because you are not comfortable with it (or whatever) rather than because the church says not to. But certainly it has shaped who you are, and you shape the stories. So I assume it's possible to trace a few lines from one end to the other.
You're right; I think these things are possible to trace--and the example you give is a good one. I've described the lack of sex scenes in my books the same way you just did.
I'd say that certainly, the sense of hope in my books is shaped by my faith. I didn't do it intentionally, but if you look at Mistborn, you find lots of quotes about faith in the face of trials--which is a very religious way of looking at the world. Some of my more secular friends might point out a fallacy in this thinking; they'd say that while determination is an important human emotion, doubling down on something just because you want to believe is the opposite of being self-reflective.
My belief in what makes someone heroic, or a good leader, is probably also very directly influenced by my upbringing and belief.
What would happen if you created a Lifeless with more Breath then is necessary? Would they be more or completely human or just a Lifeless that's holding more Breath?
Lifeless with more Breath are an interesting situation. It's quite possible for the BREATH to start taking on a personality, much like a Cognitive Shadow, related to the individual. Whether or not it is actually them, though, is a big question. Note, this doesn't always happen. Often, dumping a lot of Breath in them is like sticking it in an inanimate object with no Command.
Chapter Twenty-Two - Part One
Feruchemy. Some like the word, others aren't as happy with it. It used to be called Hemalurgy, but I decided that would be a better word for the third magic system in the series. (You'll see it eventually.)
Feruchemy (not called that, however) was a magic system I lifted from Final Empire Prime, a book I wrote some years before I wrote this book. I had a person who could store up attributes, such as strength, then use them when he needed them. The thing is, the magic wasn't really that well formed, and this character never got any viewpoints, so I didn't get to use the magic as often as I wanted.
When I was developing this world, I knew I wanted the Keepers to have the fantastic memories. I realized that Feruchemy would make the perfect magic system for Sazed and his people. When I decided that I could use metals as a focus for this magic system (something that made it much more interesting, because it put a definable limit on what could be stored and how much of it could be stored) I knew I had something really good.
I like to use multiple magic systems in books, but I like it when they all have common elements. Feruchemy and Allomancy are like different aspects of the same concept. They both do some similar–yet different–things. There will be a lot more about this in the text.
Just a warning: as always, some of these were heard wrong by me, or by the person recording, or were mixed up during questioning.
For example, the one referencing the first 11 chapters was me talking about the first book, not the third. The question about Ivory also wasn't quite recorded correctly.
I usually don't have the time to go through all of these, but remember--word of Brandon can be very fallible for many reasons. I continue to be willing to answer these for fans at conventions and signings, but the community does need to know not to hold to them too strongly.
After the epilogue, when Odium took Hoid's memories, did he gain them or just remove them?
He removed them, he did not gain them. He excised them, he performed a little surgery on the Breaths. You have seen this happen before in the books, though I will not give spoilers to another book. It happened on a different world.
Now, parents are usually the most influential role model in a person's life. You're a father, Brandon, as a father, what do you think parents can do to help prevent violence against women and girls in future generations, and get boys involved in helping to do so?
One of the things that I've noticed, having three little boys, is the weird way we sometimes look at consent, just, as little boys roughhousing. And I'm not here to say, lets stop roughhousing and things like that. But I think it's a good general rule, that when your little brother is saying, "Don't tease-- Don't tickle me, please stop." Then, we say, "Yeah, you stop." When somebody says, "Stop touching me," it doesn't matter if it's your little brother. It doesn't matter if it's your mother. It doesn't matter if it's your father. You don't say, "Stop touching me," number one, and not mean it. And when someone says that, you listen and you stop tickling them. You stop jumping on them.
My boys love to roughhouse and I love to play with them and have them jump on me and things like that, and there's nothing wrong with that. But when they jump on somebody else and they say, "Don't do that," we need them to know, at least that's what I feel, I need to let them know, "Listen, ev-- other people have the right to tell you no and you have to stop, right away. That's not a thing that you, that you then giggle and do it again." And that's just one of the areas that I've seen, that-- and the thing about it is, it's a bigger, bigger-- It makes our home way more serene, when that rule, and my kids understand that rule and they know they can say, "Stop tickling me," and it means something, everybody's happier. Right?
And so, I don't know, that's one way, teaching my kids to respect everyone, right? Resp-- When somebody expresses their opinion and their emotions and the experience they've had, your response, is not to say, "No." You can say, "Well my experience has been this," that furthers the discussion, but saying, "No, you're wrong about your own experience?" I think that is something, that we all as a culture need to start teaching people to pay attention to.
What can we expect from Dark One, specifically what kind of magic system?
the magic systems in Dark One, focus on, right now, on a person who can steal people’s souls and use them to make magic objects, mixed with an electricity type world, where the ground is electrified, and animals, plants and animals, have an, a symbiosis with electricity, like you’ll see a tree that has a Jacob’s ladder going up it, or you’ll see ah, a beast that uses spittle like a taser, that should be the next book that I work on for Random House after the Steelheart trilogy, so we will see.
How do you decide who lives and who dies? Do you know before or is it up to the characters?
How do I decide who lives and who dies? I just decide based on the demands that they make to me by their character arcs and the risks they want to take. I don't ever feel like I'm killing characters off, I feel like I am writing the stories that need to be written the way they have to be written. They often are planned out ahead of time, I'm an architect as a writer, I come up with an outline and then I hang my story on it. But characters have veto power over the story, if they decide they want to go somewhere else. If who they are growing is somebody the story demands-- I say they decide, it doesn't really happen that way for me. If when I'm writing the story I'm like "This character would not make this decision. I either need to put in a new character in this place or I need to rebuild my outline to match who this person is." And both of those have happened to me. Usually I'm not replacing the character except in the early parts. Usually if I like the character enough as I'm going I replace the plot.
If you could have any actor play Kaladin, who would it be?
The thing is, I don't usually cast my movies, right? No, they are who they are in my brain. So this is one of the reasons why having somebody who knows the Cosmere make the films... My favorite films are, when the person gets chosen, you're like, "Really? Heath Ledger?" And then you watch it, and you're like, "Ooh, he really, really, pulled off the Joker. In his own way." And so, I don't have anyone that I would choose. It's really hard with Stormlight. Stormlight's the hard one, because... And I'm hoping they'll do this right, because they are a Chinese company. The Alethi are not Caucasian. They are, in my head, a blend of something Middle Eastern and Asian. My model for Kaladin (I chose a headshot, just so I can have it in my head, just to get the general feel), is part Hawaiian, part Japanese, part Arab. And so... we'll see what they can come up with. I'm interested. But I don't have a specific actor chosen.
Can the survival Shard hide in a person?
RAFO
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.
Do you draw your own maps?
I used to and then have someone who know what they're doing redraw them. Now that I have... *other person interjecting* Yeah, like this Elantris map, I did a sketch of and then handed it to the artist and then the artist did a version. Now we have an Isaac version.
Did you draw it before or after you designed what the city was made for?
Oh, yeah, I designed all... I'm an outliner, so I kind of had all of that in mind.
You knew beforehand?
Beforehand, yeah. Nowadays, I just write and then Isaac reads it and then says, "How's this look?" and gives me a map and I say, "That looks pretty good!"
Does this [map of Roshar] look like a storm to anyone else?
I was searching for something that at once felt organic, but would hint at a pattern. (Much like cymatic patterns, as referenced in the first book.) Fractals and mathematical functions became my go-to place to hunt, as I like the blend of structure and spontaneity they can sometimes exhibit. The slice of the Julia Set was the one that stuck with me as feeling perfect for Roshar. As the continent was specifically grown by Adonalsium, you now know the seed that was used in-world to create it.
The fact that it looked like a swirling cloud is part of this all--but also part of the connection between natural patterns and the underlying math, which is a primary theme of the Stormlight books. So yes, it SHOULD look like a storm--but for deeper reasons than you might assume.
I asked Isaac recently, but he suggested you might be the right person for this - do you have a specific equation for the Julia set you used to generate Roshar? I know it resembles a few easily Google-able images of (shadows of slices of) Julia sets, but I was curious if had specific numbers here.
I don't have any numbers I could give you. Sorry. I might be able to find them, if I looked, but it would take more time than I'd like.
You have stated elsewhere that your story is about a world recovering, a world that has fallen from the height of its power. Why did you choose to set your story in such a setting, what about it makes it an appealing place to write about?
Several things. There's a real challenge in this book because I did not want to go the path of The Wheel of Time in which there had been an Age of Legends that had fallen and that the characters were recapturing. Partially because Robert Jordan did it so well, and partially because a lot of fantasy seems to approach that concept. But I did want the idea of a past golden age, and balancing those two concepts was somewhat difficult. I eventually decided I wanted a golden age like existed in our world, such as the golden of Greece and Rome, where we look back at some of the cultural developments etc. and say, "Wow, those were really cool." And yet technologically, if you look at the world back then, it was much less advanced than it is now, though it was a time of very interesting scientific and philosophical growth in some areas. What we have in Roshar is that the Knights Radiant did exist, and were in a way a high point of honor among mankind, but then for various reasons they fell. The mystery of why they did and what happened is part of what makes the book work.
Why is this world appealing to write in? Well, I like writing my worlds like I write my characters, where at the beginning of the book you're not starting at the beginning or the end of the characters' lives; you're starting in the middle. Because when we meet people, their lives don't just start that day. Interesting things have happened before, and interesting things are to come. I want the world to be the same way. Interesting things have happened in the past, and interesting things are to come again. I want there to be a depth and a realism to the history. It's fascinating for me to write at this point because on the one hand, there are things to recapture in the past, but at the same time there are things that the people in the past never understood and could never do. The former heights of scientific reasoning didn't go at all as far as they could have gone. So there are new places to explore and there are things to recapture. In a lot of ways, this plays into my philosophy for storytelling. The greatest stories that I've loved are those that walk the balance between what we call the familiar and the strange. When a reader sits down and there are things that resonate with stories they've read before that they've loved, there's an experience of joy to that. At the same time, you want there to be things that are new to the story, that you're experiencing for the first time. In this world, that's what I'm looking for. There is that resonance from the past, but there's also a long way to go, a lot of interesting things to discover.
You obviously treat your writing career pretty much like a business. On your blog, you talked about staff, and stuff like that. So I'm wondering if you have advice for emerging writers to build their careers with an eye towards business? Business stuff?
A couple thoughts here. One is, nobody warns you that becoming a novelist is starting a small business, and it hits almost all of us like a ton of bricks when we realize, "Wait a minute. I have to do-- I have to get insurance. I am an independent contractor; I'm not working for the publisher, so I have to pay taxes in installments during the year." (What do you call those... estimated taxes. You have to do estimates, and things like this.) And you have to do all of this weird stuff that can be really hard. That no one-- The writing problems don't generally talk about this. And they don't talk about getting an LLC, or things like this. I had to stumble through all this. And so, I would say to you, do know that becoming a writer, you are starting a small business. So any kind of classes you can take, or things you can read online on starting a small business, are gonna be a huge help to you in that.
The other thing is, I often-- and this, I figured out pretty early on. I figured out that trying to write toward the market was an exercise in futility. I had a speech about that a couple years ago. Trying to always look at writing from a business perspective is going to drive you insane, for multiple reasons, like I just talked about, I just failed at writing a book last year, and I still don't know why. That's not something that really flies in the world of "everything adds up," because it doesn't. That should have added up to a book that works, and it didn't. Because writing is an art. There's an artistic side to it, there's a thing we can't explain. I can't explain very well how I get characters. Like, I outline my plots and my world; my characters come more organically, and it's really hard for me to talk about character for that reason, because putting it into words is difficult.
But one thing you can learn to do is that you can, when you're writing, try to throw all of that aside. Try to focus only on, "What are you passionate about? What does this story need?" And try not to think about the business side. When you finish that story, lock the artist in the closet, take the manuscript, run away cackling, and try to find a way to exploit it in any way you possibly can. *laughter* That is my suggestion on balancing the businessperson and the artist. Let the artist write whatever they're passionate about. And then the businessperson's job should be separate, but same person different hat, and learn how to turn that into food on your table. Try to learn how to make that balance work. And I think that will take you pretty far.
Do you have a term for anyone within the cosmere that can use Investiture? And can you tell us what it is?
I have started dabbling with these sorts of things and I've started just calling them Invested, right? Like this person is Invested, and things like this. And I think that term is going to work, but I'm gonna see how it feels going forward.
Chapter Sixty-Eight
Sazed Takes Action
Ladies and gentlemen, Sazed is back.
This is the confident Sazed, the person who—without raising his voice, without seeming to make demands—can control a group and get the information he desires. He's always claimed that he's no leader, but he's actually a fantastic one when he puts his mind to it. His calm sense of purpose puts people at ease, and makes them do as he requests.
He's not a king—he's right on that count. He is, however, a man to be respected and obeyed. He doesn't have much time left; the book is almost finished. However, he will make good use of his time.
So, the third ideal of the Windrunners. Is it about protecting those you hate or is it more broadly about going against your instincts/wants in order to protect others better?
For most people, it's going to go along the hatred lines--but it extends all the way to what you're implying. Mostly, I think of it as, "I'll get rid of my caveats about those I'll protect."
You're likely to see the more extreme examples as I write out the oaths for others, particularly in-scene, as I don't want it to feel too repetitive. But you can assume that for most of the original members of Bridge Four (who are slowly hitting this ideal) that it had to do with agreeing to protect a group that they in some way dislike. (So long as it's right to do so, as defined by themselves and their spren, of course.)
At or near the endgame of SA do you think you'd release a guide on the specifics of each orders oaths, so that the fans could personalise their own?
Yes, if I haven't gotten to them all by then, I will release them all.
Will we find out Sigzil's or was it just a fleeting mention? If so, are we going to get a personal 3rd ideal story from every Bridge 4 member?
Afraid we won't have a chance to see each and every one of them.
It's mentioned that Stormlight in gems will flicker slightly. Is this the Rhythm of Honor?
Good question, RAFO.
Atium and lerasium are their own special ways of Investiture, of using it. Do the other Shards have those, that even within their magic systems are unique just to that one Shard?
Yes.
Can you tell me anything about any of that?
You might see some of them some day? I think, I know you've seen at least one, but people don't know what it is? One person's asked me a question about it, so somebody's figured it out but, yeah, there are things like that in other worlds. Kind of, distilled essence of Shard, yeah.
There's a character in Bands of Mourning named Cob and there's also a character named Cob in the Oathbringer Epilogue. Are those two characters the same person?
Nope. Good question.
Your input on the Cosmere goes beyond just the art—you wrote some of the Mistborn Era 2 broadsheet articles. Is there any plan for you to write more small-format things like that, continuing Nazh’s errands for Khriss?
I wrote the Allomancer Jak story from Shadows of Self and the Nicki Savage story for The Bands of Mourning. Currently, we have an origin story for Nazh planned, which takes place on Threnody, as well as a few stories with Nicki Savage plotted out. It’s likely Nazh will probably show up again to torment her with his enigmatic grumpiness.
Nicki’s broadsheet story reads like an old serialized novel. In-world, she’s writing these things to be very sensationalized and bends the truth of true events to fit the needs of her story and to entertain her audience. Nicki’s novella is mostly plotted out. I just need to write it. It won’t be a first-person sensationalized newspaper serial, but the epigraphs will have pieces of the sensationalized stories. So you’ll read a chapter, and then the epigraph of the next chapter will be her sensationalized version of what happened in the previous chapter.
A new Mistborn Era 2 novella—that’s awesome! Do you have any of your own writing projects going, which you can talk about?
Most of my own writing right now is in the Cosmere. I’ve been hard at work on some fun things for Taldain that we can’t quite announce yet, but I’m bursting at the seams wanting to share the cool things that are going on there. Rest assured that as soon as we’re able, we’ll make some announcements.
Why is Kaladin so proficient-- Like naturally born to wield a spear. Is that a weapon he likes or is it a destiny for him?
So destiny is a strong term... I would say he has natural aptitude, but no more so than a normal person who has a natural aptitude for something. But the way the Spiritual Realm works in the cosmere and the way Connection works, there were certain things that were happening to Kaladin before they happened...
It's like Syl says in one of the books. "You didn't know me then, but I knew you then. Even though we hadn't met yet, I still knew you." You see some weird Connection things too. And these are mostly just for fun sort of cosmere connections. Like when you see Syl take on the look of Shallan standing on the beach. There's gonna be a connection there. It's forming, it doesn't exist yet, but all things are one in the Spiritual Realm, and we're just kinda seeing echoes of that. It's not meant to be destiny, it's more meant to be, "Hey there's little connections happening".
I would not say Kaladin is any more naturally gifted in that than your average professional sports player is naturally gifted in what they do.
What does Taravangian, as the Vessel of Odium, think of Autonomy?
I will RAFO this, because it's going to be relevant.
What is the best and worst part about working with Sanderson?
Hmmm... best part is working with someone who genuinely loves what they do, and they're really, really good at it, and even better he's got a plan to keep doing it. It makes him a very inspirational partner.
Worst part... well, with the touring and so forth, sometimes it's really hard to get time where we can actually talk, even by phone. Unlike the rest of the team I don't live in the same city as Brandon, so aside from those few occasions when we're attending a con or his tour comes nearby, almost all our communication is by email. And that's a little frustrating, 'cause I genuinely like the guy on a personal level.
Brandon and I talk pretty steadily during production, but that's business and only takes place for a few months of the year. Most of the time I talk to Isaac, he has the patience of a saint.
Hi, I was wondering, in your books you have a lot of mentions of gods, and spirits and I was just wondering what your opinion on religion is?
Excellent question, excellent question. And oh sure the microphone works for you. So I'm religious, I'm Mormon. Yes, I am. And I've grown up religious, I'm a religious person and I'm fascinated by religion in all its different aspects. One of the things I love about being a writer is the ability that you have to jump into the heads of various different people who are very different from yourself and explore. Like that character coming alive thing, it's really a fun aspect. I feel that, since I am a fascinated by religion, my passion-- and if you are writers you will know this yourself-- whatever you are passionate about translates usually to good fiction, as long as you are willing to approach it from all directions. Where fiction goes wrong is when you allow your perspective to color everything too much and you end up with a story where everybody thinks the same. However if you can allow something you are really interested in to have five or six different characters on different sides of an argument. Because there aren't two sides, there are as many sides as there are people in the world on these sorts of issues. You can show a lot of those different sides and show the way they kind of-- the rough edges bump into one another, then what you are going to be doing is you are going to start exploring what it means to be human and what it means to have faith, or whatever it is you are fascinated by. I find that this is where I find your fiction can get really good.
I love reading fiction, I love science fiction and fantasy I think sometimes-- I do love the escapist aspect of it, getting out of the world and going someplace imaginative, but I think sometimes because we have this escapism-- which is a lot of fun and there are a lot of fun aspects to this-- we miss out on the importance of what fiction does. I think fiction allows you to see through the eyes of someone very different from yourself and experience their life and their role. And when you get done with fiction-- A good piece of fiction I feel it's harder to hate the people because you've lived in someone else's shoes for a while. Maybe that's a very lofty opinion that I have of what my job is where really it is telling stories about magic and knights hitting each other with swords. But that's the soul of what I think is very noble about fiction and I think it was very Tolkien. You get done reading Tolkien and you're like "I can see how these different races in this world, the hobbits and the kings, and dwarves and the elves and I can see how they all view the world differently." I think that does something for us, something wonderful.
One of my favorite books of all time is Dragonsbane by Barbara Hambly this is the book that got me into reading. I was a 14-year-old boy, who was not a reader and my teacher handed me this book. This book should not have worked, this book is about a middle-aged woman who is trying to choose between her career and her family, that's basically what the book is because she's been told she could be the greatest magic-user ever by her teacher if she would just focus but she the reason she can't focus because she's got these two crazy little boys who distract her and a husband and things like this. And I read this book and its about the last living dragonslayer who has to go and kill a dragon, except he goes and does it with crossbows ballista instead of a noble ride up with a sword because who does that its stupid. It's great, its from her perspective. I get done with this and I'm like "this was amazing. I loved this book, why did I love it so much?" At the same time my mother had graduated first in her class in accounting in a year where she was the only woman in the accounting program and had been offered a really prestigious scholarship to go along with her education, instead she had me. She felt it was important to stay home with me while I was young. She took care of me and as a teenage boy knowing this I was like "Of course she did, I'm awesome of course that's the right thing to do". And I was reading this book about dragons and I understand my mother better. That's what we can do with this, and I'm kind of going off in weird directions. That's what I love about fiction, that's what I love about science fiction and fantasy.
I designed a shirt with the Windrunner symbol online, and they wouldn't let me because they said a game had the rights to that.
Any of our symbols, the copyright is to the company. You are free to print off shirts for yourself and friends, we have no problem with that. Anything that contains artwork from our series, we don't let you sell. You can do it for your friends.
Or you can design something that doesn't use any of the artwork, and then we don't care. If you want to do something with the artwork and you think it's really cool, if you can convince Isaac, my assistant, that it's cool enough, there's a chance we'll just license it, and at that point, you get, I think, 15% off the top, and we'll sell it on the website.
That's the line we came down on. We want people to make stuff for themselves, but we don't want people selling stuff that has the artwork. If you're just making for yourself, I don't care.
We actually have a fanart policy that officially says you can do that. So if you can point the company and say, Hey this is for personal use only, I'm not going to sell it, here is the fanart policy from Brandon's website that says it's okay, then maybe they'll let you do it.
If that doesn't work, try a different place. Know that you aren't running afoul of anything on us. We even drew it up with a lawyer saying this is legal, you can do this for yourself.
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.
The question is: Shallan from The Stormlight Archive being an illustrator herself, an artist, gave me an interesting opportunity to show the world through sketches and illustrations, is that something I thought about ahead of time?
In fact that was one of my big goals with The Stormlight Archive, I wanted to-- So I have this feeling on epic fantasy, one of the cool things about it is this sense of immersion, and then the epic fantasies that I have loved the most, things like Dune, if you count that as fantasy it's one of those hybrids, or The Wheel of Time, what they do is they really make this world real to you and that helps these characters, you know I will say that characters are most important but if characters are caring about things you think are silly or interacting in a world you think is not real, you aren't going to believe those characters. And so for me I am always looking for how I can enhance that sense of immersion, and how can I do that without burdening the reader with huge long paragraphs of descriptions of the world around them. And very early in the process of doing The Stormlight Archive I decided I wanted to base a character on Pliny the Elder, which is one of the early scholars in Western thought who did all these sketches and writings-- Back in those days a scientist was everything, right? Darwin did sketches and things like this. You are going to be drawing and writing and approaching all of the sciences and arts as one. Instead of being a person who makes food or stabs other people you are going to do all the other stuff. And that was a really interesting character for me because I was able to develop this idea of "We are going to put sketches in the books". Now The Stormlight Archive, one of the rules with myself is that these all, all the art and there's some thirty pieces of art plus in each book, all have to be in-world artifacts. That's the sense of immersion, right? I don't think we've lost it but it's become a cliche that every fantasy novel has a map in front of it. And that stretches back to Tolkien, but Tolkien's map was the map they used in the book to travel, right? It's the actual map. And I like that, it says "Here's this artifact from the world" rather than "Here is an illustrator from our world giving you this extra information". And so I've taken great pains to say what kind of art they would have, how can I get this into the books, why is it relevant, and how does it help? I found that this helps, particularly with Shallan being a natural historian, sketching out creatures that I don't have to maybe spend quite as long describing-- I still have to because a lot of people listen to the audiobook and I still want them to get the picture, but it just helps cement those things. Anyway, that was one of my big excitements about the world for years and years and it's one of the things propelling me to write it.
Current status of the White Sand graphic novel?
We have chosen a writer and the writing is quite good. We are very pleased with it, the person who's adapting the story. We have not chosen the artist yet, we have had several that have been sent to us. Each of them are doing an application with their art and we are now choosing among them. So if there's-- We are looking for professional comic book and graphic novel illustrators and so if there happened to be one of you out there who has done professional work in this field and has done--you have to be willing to commit to doing a lot of work and you have to work with Dynamite and things like this. Then you are more than welcome to contact us, but I think we are close to picking somebody.
What would happen if an Elantrian burned or flared aluminium? Would they become Reod or a normal person? Or something else?
Like if they got Allomantic powers?
Yeah, like a lerasium [bead] or something.
Okay, yeah, I'm gonna say RAFO, I knew this one was coming.
You said before that you want to cameo in any adaptations of your books as someone who dies in each one. Assuming you do this, would it just function as an out-of-universe nod? Or would you canonically be playing a very unlucky set of identical worldhopping siblings?
It wouldn't be siblings; it'd probably be, like, somebody who keeps getting reborn. Somebody who's immortal in some way, and something terrible happens to him every time he goes. A little like the unluckiest planeswalker from Magic, if you guys are familiar with that.
I would be the same person, I think, because we'd want to keep canon, and things like that. Some dude who maybe had a certain Dawnshard that makes him indestructible, for a short period of time (not Hoid), but tries to keep going places to get out of danger and just ends up getting squashed every time.
Kind of like I'd be the cosmere's Kenny.
Have you thought about writing an actual Way of Kings, by Nohadon. I personally would love to read that.
I have considered it, but only briefly. It feels like a ton of work.
I think this final scene with Sarene in bed is much more powerful since I didn't show the actual conversation with Eventeo. Having it begin with a depressed Sarene, the seon link disappearing, leaves an air of melancholy on the scene that is more telling than the sense of sorrowful confrontation that would have come from having Eventeo explain himself to Sarene.
Obviously, poor Eventeo isn't in a very easy position. I didn't want him to have an easy answer; I think this is a very difficult decision for him to make, and I don't really think there is an obviously right answer–even though Sarene thinks that there is. We'll see later that Sarene doesn't look at things the same way a person who actually has to be a leader does.
I wish I could have made Eventeo a viewpoint character–he goes through a lot of conflict and trouble in the book. Unfortunately, there's never enough room to do all the things that you want to, and I like how tight the book feels with only having the rotating viewpoints.
With Syl being able to be revived, is Adolin ever going to be able to revive his own blade, or--
Ah, that would be very difficult, because the original-- in most cases, the original person who broke the oath would have to be the one.
What is Syl's favorite form? What is her favorite form?
Syl is kind-- kind of ephemeral. Meaning she has a peculiar little personality and her favorites change quite often. I would say, she probably likes being the human-form the most, because she gets the best reaction from the people she's interacting with. But that wouldn't always have been the case, because she is responding to how people are perceiving her.
I have a question about Wayne, are his skills of taking another personality, is it his trait, or something magical?
It is not magical, he’s just really good at it.
They say you can’t judge a book by its cover. I’ve always wondered who “They” are, and if—by chance—they’ve never heard of Michael Whelan. Because my experience in life has been very different.
It’s been almost twenty years now since I first discovered Michael’s work. I was fourteen when it happened, and I was not a reader. I’d been handed a succession of novels about young boys living in the wilderness and taking care of their pet dogs. (Which would die by the end of the book.) I disliked reading with a passion. So, when my eighth-grade teacher assigned me to do a book report, I did everything I could to get out of it.
That failed. In fact, it failed so solidly that the teacher—unwilling to let me choose my own book to read, for fear I’d choose something not up my reading level—steered me to the back of the room, where she kept a group of ratty paperbacks to loan out to students. You probably know the type—ripped, stained by spaghetti sauce from cafeteria lunches, pages folded and worn. I was told I had to read one of these and had to do a book report on them—and she’d read them all, so she’d know if I tried to fake it.
Sullen and annoyed, I began to sift through the books. Most looked terrible. I resigned myself to another dead dog story, but then one of the books actually caught my eye. It had this vivid painting of a dragon standing in the mists, a woman held limply in its hand. Dragonsbane, by Barbara Hambly. The painting was so beautiful, so realistic yet imaginative, that I snatched it up, actually a little eager to look through the pages. I ended up taking it home with me.
I read that book in one day. It wasn’t like anything I’d ever tried reading before. (I had never been introduced to fantasy novels.) Dragonsbane was amazing, challenging, imaginative, gripping, and beautiful all wrapped up in one. I remember a severe bout of disappointment upon finishing the book because I thought surely there couldn’t be anything else like it in the entire world.
Still, hopeful, I visited the school library the next day. I looked through the card catalog, and picked the next book—alphabetically by title—after Dragonsbane. It was called Dragonflight, by Anne McCaffrey. I went and pulled it out, and was once again captivated by the cover. I took it home and read it.
My life changed. Now, we throw around sentences like that in writing, using them over and over again until they become as worn as the shoes of a traveling salesman—hardly capable of holding meaning any longer. But let me say it again. My life changed.
I devoured every Anne McCaffrey book in the school library. Suddenly, what I’d discovered in Dragonsbane wasn’t a single, freak event. There was a pattern. If two authors could do this, perhaps there were others. Hungry for more, I went to the bookstore and discovered there was an entire fantasy genre.
There were so many books. Which to choose? Dragons had treated me well so far, so I looked for some dragon books. And there, right on the shelf, was a beautiful book called Dragon Prince. I consumed it, and then everything else Melanie Rawn was writing.
What do these books all share? It wasn’t just the dragons; it was the covers. Each time, there was something dramatic and special about them. I now own prints of Dragonsbane and several of Melanie’s covers. All were painted by Michael Whelan.
By the time Tad Williams’ Dragonbone Chair came out, I could recognize Michael’s art on sight. And I also knew to trust it. It didn’t seem logical—you really shouldn’t be able to judge a book by its cover. But a Whelan cover became a seal of approval to me, a sign that the publisher trusted the book so much that they got the best person available to do the cover.
I can’t tell you all of the authors Whelan’s art led me to over the years: Patricia Mckillip, Joan D. Vinge, Stephen Donaldson, and even Asimov. (Yes, you read that right. I first picked up Asimov because Whelan had done the new Foundation covers.)
I remember when winter 1993 rolled around. My local bookseller noted to me that Whelan had a new art book coming out, one half dedicated to covers, one half dedicated to his fine art. It was the only thing I requested for Christmas, and my parents bought it for me despite the cost. I spent hours leafing through the wonderous, fantastic art. Those imagines sparked things in my mind. I was an author in embryo, absorbing, thinking, dreaming. One of the very first stories I ever wrote was a ‘fanfic’ based on Whelan’s Passage series of fine art prints.
The years have passed. There are other wonderful fantasy artists out there—and, in a way, the market has finally caught up to Whelan (much as the fantasy genre itself needed time to catch up to Tolkien.) I’ve been lucky to have some of those incredible artists paint covers for my books. But I’ve rarely felt as much excitement, wonder, and awe as I did the when I got to open an email and see the cover for The Way of Kings.
Irene Gallo (Tor’s art director) asked me to provide a quote about how I feel having a Whelan cover on one of my books. My editor, Moshe, noted “Surely you’ll mention how it’s a dream come true for both you and your editor.” But 'Dream come true' is another one of those phrases we use so often it has lost its meaning.
How do I really feel? Well, when I was a senior in high school, I was forced to take a life-planning class. In that class, we had to write down ten 'life goals' we wanted to achieve some day. #1 on my list, which I still have somewhere, was “Publish a book someday that is good enough to deserve a Michael Whelan cover.”
It has always been a deep-seated desire of mine to one day have a Whelan painting on one of my works. Without this man’s skill and vision, I might never have discovered the fantasy genre, and I might not be writing novels today.
You might say I’m a little bit pleased.
What was your inspiration for coming up with Szeth?
So... I designed his culture first, one of the odd cases where I was working on the culture, and out of that grew his character, at odds with his culture. So I wanted somebody who was both the paragon of his culture and the person who was at odds with it. That concept just worked for me.
What spren types are Glys, Ivory, and Wyndle?
RAFO, because I haven't decided yet. I know generally what they are, but I don't know how I am going to call them in the books. It happens with other things in my writing, Shards for example - Odium was originally Hatred; the idea was the same, but I decided to change the actual word.
Chapter Seven
Annotation time! So, one of the things I worry about (maybe too much) in an extended series like this is something I'll call Skelletor Syndrome. This is the problem that the protagonists need victories through the course of the series--the text will naturally build to important moments, and while there will be failures, there will also be victories.
The more times an antagonist gets defeated, however, the less of a threat they become in the reader's mind. It's hard to justify to the reader that a villain is still a credible threat after they've been foiled time and time again. (Kylo Ren ran into this problem, for example, in the new Star Wars series.)
Going into the Stormlight Archive, this is why I staggered the threats moving from non-supernatural antagonists (like Sadeas) toward increasingly dangerous threats. This isn't to say that someone like Ialai couldn't be a credible threat without powers. However, I still felt it best to move on from her as a representation of the antagonists in the earlier part of the series, pointing us toward larger (and more cosmere-aware) threats as the conflict of the books expands. I could easily have had an entire book with a major thread about toppling her little empire on the Shattered Plains, but that would have been too backward looking.
So in this book, we're pointing away from the Sadeas/Amaram team toward Odium, some individual fused, and several of the cosmere-aware players (Thaidakar and Restares.) Don't worry if those names aren't clear to you on first read--they've been around for a while, but I haven't delved too much into who they are. This book will do so.
Was Vin's mother under Hemalurgic influence?
Vin's mother was under influence of Ruin.
The epigraphs from The Hero of Ages say this: "The point, however, is that people with unstable personalities were more susceptible to Ruin's influence, even if they didn't have a spike in them. That, indeed, is likely how Zane got his spike." In the annotations Brandon confirms that the same applies to Vin's mother.
Are spren able to manifest Surges like the humans they are bonded to? Syl is able to stick things together are other types able to do other things or is the sticking things together something else?
The Spren are living Surges, in a way. There are some "higher" spren which have more ability than others to touch certain Surges. Honor, for example, is not a force of nature--but a force of thought. What is attributed to it relates more to the abstract.
And that didn't really answer you, did it? Well, hopefully it's enough.
Is them being living Surges the same as how seons are living Aons?
Similar.
Which character in The Stormlight Archive do you most relate to?
...This is a good question, but it's a hard question. Because all of my characters are partially me, and partially not me. Every character... So, in some ways, Jasnah is the most "me" you're gonna get in one of these books, because you've got the very analytical, somewhat ambitious, gregarious person who ignores what everyone tells them is the smart thing to do and does their own thing, and then proves everyone wrong. On the other hand, a fundamental pillar of Jasnah is her atheism, where I am a theist. And so it's like, every character, I can probably go on like that about. Every character's got a chunk of me and a chunk that's deliberately not me.
Mare is actually no-ghost fully dead, right?
Just wondering, since she's the only allomancer to ever be sentenced to the pits, so she's presumably the only person with a powerful soul to die right next to Ruin's Well.
Or is Ruin Energy inherently the type of thing that won't (can't) extend the life of a ghost?
There is no cognitive shadow of Mare hanging around.
Can aluminum be used to destroy a Feruchemist's metalmind if the person burning aluminum were to cut his hand and place it on the metalmind?
He said that cutting the hand would probably not be enough, but that I was on the right track.
Chapter Three - Part One
Similarities Between Warbreaker and Elantris
And finally, we arrive at my personal favorite character in the book. Lightsong the Bold, the god who doesn't believe in his own religion.
I had the idea for Lightsong a number of years ago. My first book, Elantris, dealt with the concept of men who were made gods. However, in that book, we never actually get to see men living as gods. The gods have lost their powers and have been locked away.
This time I wanted to tell a different story, a story about what it is like to live as a member of a pantheon of deities. Yet I didn't want them to be too powerful. Or even powerful at all.
I realize that there is some resonance here with Elantris. I hope that the concepts don't seem too much alike. What I wanted to do with this story was look at some of the same ideas in Elantris, but turn them about completely. Instead of dealing with gods who had fallen, I wanted to look at gods at the height of their political power. Instead of dealing with people who were ridiculously powerful, I wanted gods who were more about prophecy and wisdom.
I made it so that the Returned couldn't remember their old lives as a way to distinguish them from the Elantrians. However, I can't help the fact that the ideas had the same (yet opposite) seed. But I'm confident that there's plenty of room in the idea to explore it in a different direction, and I think this book comes out feeling very much its own novel.
Was Adolin's murder of Sadeas him falling under the influence of Odium, or was that all him?
That was all Adolin.
If a person were tapping Connection would their language for Awakening change?
If the Connection is strong enough then yes, otherwise no.
