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Brandon Sanderson

The next were going to have all the Spren from Shadesmar like-

Paleo

All the Radiant spren.

Brandon Sanderson

All the Radiant spren, you know well nine of the Orders we're going to get all nine in. 

Isaac Stewart

We're going to do yeah, we talked about the tenth. 

Brandon Sanderson

Yeah, we're probably not going to do the tenth.

Isaac Stewart

We're going to have to wait until after the book is done to decide.

Brandon Sanderson

But they'll be nine of them at least. They're looking very cool, I'm very pleased with how those are. They're very like these natural history illustrations and so.

Isaac Stewart

They do look nice.

Questioner

In the last panel we talked a lot about people from different planets using magic systems on other planets, one of the things I've been thinking about, we've been thinking about, talking about Breath, and people being born with Breath, is that something specific to Nalthis or do, technically, other people on other planets have a Breath as well?

Brandon Sanderson

Good question and that is a Nalthian thing. Now, everyone in the cosmere to an extent has Investiture, the Nalthian Breath is part what everyone has and then a little extra, plus the ability to share it around. So a person who gives up their Breath on Nalthis is actually going below what a normal person has. But a normal person on Nalthis has more than somebody-- So if you were for instance to pick a world like Sixth of the Dusk, where there's not a Shard in residence, and you compared them to a Nalthian, Nalthian has an Investiture advantage over them. When they've given up their Breath, they have an Investiture disadvantage.

Bystander

So we're not Drabs?

Brandon Sanderson

So we're not Drabs. That's exactly it. We're not Drabs.

ZenBossanova (paraphrased)

Since Shallan has a unique ability of memory from her blended surges, is fighting what Kaladin has?

Brandon Sanderson (paraphrased)

No. His unique ability is "strength of squires".

ZenBossanova (paraphrased)

And Jasnah?

Brandon Sanderson (paraphrased)

RAFO.

Brent Weeks

So I hear the Stormlight Archive is supposed to be ten books. So does that mean 15 or 20? *audience laughs*

Brandon Sanderson

Stormlight Archive is supposed to be ten books. I'm hoping it will be ten books. It is two sequences of five, so you can ask me after the first five-book sequence where I am in my original outline. It should stay pretty close to that, I hope. I don't know. I used to be able to say everything stayed the same length I wanted it to be, but then my Wheel of Time book got split into three, so I can't say that any more.

Brent Weeks

Two years between books?

Brandon Sanderson

Yeah, two years between books. They're very thick and involved, and I want to be doing other things as well. I like to jump projects--it's what keeps me fresh. It's what allows me to keep on doing this productively, and if I get stuck in one thing, no matter how much I love it, I find that I get less and less excited about it as time passes. But if I finish one book and skip to something else--like an Alcatraz book--for a little while and then jump back, I find my enthusiasm has come back to the beginning, where it was. And so I do a lot of jumping between projects.

Paleo (paraphrased)

How is Dark One coming along?

Brandon Sanderson (paraphrased)

It's coming along very well. It's like Harry Potter from the perspective of Voldemort, where the good guys want to get the bad guy. It's like Narnia was trying to assassinate those who come over to their world to destroy it.

The outline is really great, we pitched it across Hollywood. We had a really great response, but no contracts are done. We're planning to release it as an audiobook original. We haven't closed the contract on that yet, but we have an offer.

Laser Wolf 214

When did the idea come for putting this novel in Hoid's voice in order to give it a more Goldman-esque feel? Was it a fairly easy decision? Or was it later on in the process?

Brandon Sanderson

It was an easy decision at the start, though I will say the seed is that I've been looking for ways to expand upon Hoid's voice. When I write Dragonsteel, which will be in his voice, it will not be like this, the tone will be very different. But I've wanted for a while to tell kind of a longer Hoid story. People often ask me, "Hey, can we get a full Wandersail told by Hoid of all of their adventures and what not?" This is a think that I knew people were interested in, and I was really interested in doing it, as well. I wanted to do something different with my prose in this book, in specific. I just felt that there was a place I could do a little leveling up in my prose, and using Hoid's voice as kind of an excuse to do that felt very good.

And The Princess Bride book is just delightful, right? If you haven't read Goldman's book, it's very good. To be honest, another person who has prose like this is J.K Rowling. The early Harry Potter books, in particular, have this same whimsical, fairy tale feel. And then, of course, you all know that my favorite author is Terry Pratchett, and he obviously had... He had a different voice from this, it's less of the fairy tale whimsy. It's just pure Pratchett; it's hard to describe. But I've always wanted to be able to practice something a little more edging toward that. So, watching The Princess Bride again and thinking "No, that's what I want to do; I want to do a voice like that. And I have the perfect person to be giving that voice."

If you go to my reading that I did at the most recent book launch, you'll hear me trying (and failing, in my opinion) to get Hoid's voice right. Kingmaker is an experiment in trying to see what I can do with Hoid's voice and how to do it correctly. And I actually started that after I finished Tress, because I wanted to find a voice for Hoid that I could edge a little away from the fairy tale. I want to use the fairy tale voice. I believe that someday I might write another one from this same voice. But I also wanted to have a voice for Hoid... He can tell different genres, right? He can tell different kinds of stories; they're all not gonna feel the same, and you see this in the books, right? The way he tells Wandersail is different from the way he tells The Dog and the Dragon. Those are two different kinds of stories. So, I tried writing Kingmaker, and I did not like how the voice went in that one. So I backed off on that, and I instead wrote Secret Project Two, which is a non-Cosmere one, just to kind of shake myself out of where I had been and do something very different. (Obviously not told by Hoid; it's not in the Cosmere.) You can see a kind of failed start in there, which is kind of fun. And there are some things I like about that piece that I read from Kingmaker that I like a lot.

Isaac Stewart

That's interesting to me, because of course, when you get to Dragonsteel and he's telling his own story, he's not going to tell it like a fairy tale. It's going to be something entirely different.

Brandon Sanderson

It's going to have a more Kingkiller-esque fell to it. I want to practice a bunch of different ways that Hoid could tell stories.

Rogaen

Any news on an Elantris sequel?

Brandon Sanderson

No news. I want to do this between Mistborn Era 3 books, is do some Elantris. But I'm gonna have to see how things play out in writing those books. It depends on a lot of factors.

I do plan to do them, still, just like I plan to do one Warbreaker sequel. But I have to balance these things, because I also want to do some new stuff in the cosmere, with new planets. Like, we need to do the Aethers. They're relevant to space-age cosmere, so I need to have at least a book or some novellas to get you used to that magic system, as well.

Questioner

What got you reading and then later on writing? And also how do you get a child to love to read?

Brandon Sanderson

Okay, so what got me reading and what *inaudible* me fall in love with reading and-- initially-- and I'll do the second question in a minute.

So originally I became a reader because of an eighth grade English teacher who handed me the book Dragonsbane. <Any> eighth grade English teachers here? Middle grade English teachers? You guys are awesome. They-- she's actually an *inaudible* professor. I'm still in touch with her. She made a reader out of me by refusing to let me not, you know? I was of age to be reading these books, but I was reading stuff I'd loved in second grade. And she just lovingly got me reading other things.

How do you do that? Well for me it worked giving me the right book. I'm working on this with my seven year old right now. Who i want to be reading Harry Potter with, but he wants to be reading Fly Guy, which is about a boy with a pet fly. *crowd laughs* And so we read what he wants. And I figure if I can get excited about what he loves, and read it with them, that that will work rather than trying to get him to love what I love.

Questioner

*inaudible*

Brandon Sanderson

Yeah, it's hard. I dunno. Ask-- don't ask me. Ask literature people, because I had to have it done to me. So I'm not even sure what happened. But it was like, I read that Dragonsbane, and I came back to my teacher, I'm like, "I can't believe people write books like that." And she's like, "There's a whole genre." *crowd laughs*

Questioner

I have a question in regards to the soulstamps… When Shai is creating it she blows flakes off of it. Are those flakes able to be enchanted and do they have any power?

Brandon Sanderson

Do the flakes that Shai blows off the front of the soulstamp have any hidden power? The answer is, no. I'm sorry, nice theory. The blowing off is actually just related directly to my experience. Soulstamps come from--

I lived in Korea for two years as a Mormon missionary, and then I went back to Taiwan to visit because there's a huge Brandon Sanderson fan base in Taiwan. For those who don't know, what happened is the publisher who got The Emperor's Sou-- No, no, the publisher who got Mistborn in Taiwan, published it the same month or so that Hunger Games came out, and everyone who was looking for-- read The Hunger Games wanted something like it ended up buying Mistborn. So actually-- *laughter* It's one of those things over here, like The Maze Runner or one of these other YA dystopians are what took off in the kind of halo of The Hunger Games. Over there, Mistborn was in the halo of The Hunger Games. It actually sold about as well in Taiwan which is-- So we just sold tons of copies in Taiwan. So I went back and it was really fun-- by the way you can go to my timeline on Facebook and whatever, and here, people like to ask questions. A lot of the superfans like to have a question and things like that. There, the superfans like to get pictures. And so there are like 5,000 pictures of me and teenage schoolgirls *laughter over Brandon* just all over Facebook from that period. But I went and visited the palace museum.

And anyway, I remembered a time in Korea where I'd seen someone carving these and he would do a little of this and blow it off, do a little bit and blow it off. Kind of the old-school carver. Now most days it's actually-- they're actually made by machines. You load in a design, you lock in your little tojong into the machine, and it goes and it will carve it out to look like the little computer design. But you see occasionally old school people carving them hand-- That's why I made it do that, because I'd actually seen someone carving one. There is not supposed to be any hidden magical meaning, other than the fact the stone that they're using is a traditional type of stone, which may or may not have Invested properties.

Brandon Sanderson

If you guys don't know who Nazh is, Nazh is the person who annotates all the maps and pieces of art in the Stormlight books. The affectation is that the Ars Arcanum for the books and a lot of the illustrations are things that have been collected or put together by Khriss and [Nazh]. You describe Nazh as "grumpy James Bond," who is sent into the world to grab artifacts for Khriss when she's putting together kind of her guide to a world in the cosmere.

Isaac Stewart

I've discovered a lot more about Nazh in the last year, just because we're getting closer to including him in more things. Right now, his personality is "grumpy James Bond" because he goes on missions, he's kind of a grump... but he kinda likes that sort of thing - he likes going off on his own, figuring out ways to do things. He has a specific skill set that works really well for this sort of thing.

Brandon Sanderson

But things kinda go poorly for him most of the time.

Isaac Stewart

Yeah. I wouldn't say he's a Mr. Bean type character, but if you imagine the situations that he gets into, they're those sorts of things - but usually not funny, though he may tell them in a grumpy, funny way later on.

Brandon Sanderson

Basically, as Hoid is to me, Nazh is to Isaac. This is very fun because he can write all these annotations on the artwork, and you'll see Nazh popping up in the books now and then, just as cameo references to this guy. The affectation is the text of the book like The Way of Kings is not something that they have in-world, but all of the art in the Ars Arcanum they do, and those are produced by Khriss and Nazh.

Questioner

In the epilogue of Words of Radiance, Jasnah is talking with Hoid and Hoid mentions a nearby village. Is it Hearthstone?

Brandon Sanderson

No it is not. Good question. Because they're out in the Unclaimed Hills somewhere. They're not even in Alethkar.

simon_thekillerewok

Without a commitment, how many books long are you guessing the Death (Without Pizza) series will be?

Brandon Sanderson

3+ if it turns out well. Depends. Once the first book is done and looks good, that's when I look at the series and make some calls on how it feels like it will go.

Octavia

Steelheart makes you feel a few pretty intense emotions. Were there any scenes in particular that you found difficult to write, because of these intense moments?

Brandon Sanderson

One of the very first scenes I imagined for Steelheart is where the main character David is trapped and pinned down. Certain things have led him to that moment and the events that happen right after that. (I'm not giving any spoilers, but those of you who have read the book will know what I'm talking about. It happens right after the motorcycle chase.) When I'm developing a book, I often go for a walk or walk on the treadmill and listen to cool music, my eyes closed, and ask myself, "What is the emotional resonance of this book? What's it going to feel like to read it? What scenes will make that happen?" This was one of those scenes. For me, it was the most important scene of the entire novel, so getting to it was a pleasure, but it was also an emotional and powerful scene to write because I'd been planning it for so long and wanted badly for it to turn out well. That can be really difficult for a writer when you've got something in your head and you worry. Can I make it turn out on the page?

Questioner

Can you tell us when more books are coming... as far as Alcatraz?

Brandon Sanderson

Yes, Alcatraz 6 is halfway done. It is moving along really well. I wrote a chunk of it and didn't like it, went to a friend of mine whose a really good writer and said, "I can't get Bastille's voice down, can you help me out?" And so we've been kind of going back and forth and sending things back and forth to each other and it's finally really working. It's snapping right together, and so I would imagine it's less than a year away. I don't know for sure. Not far.

Ironeyes

What kind of qualities attract an inkspren?

Brandon Sanderson

Inkspren do not like how variable humans are. It’s a thing out of honor, and they like people who are logical and willing to think about their lives and not react as much by instinct.

They are looking more - the scholar is the perfect example, but a soldier who is very thoughtful and is not just rushing into battle could be chosen as well.

mail-mi

Can you tell me which Hemalurgic spike transfers temporal Allomancy?

Brandon Sanderson

No, I cannot. Well, I could, but I'm not going to.

Brandon Sanderson

Main Book Projects

The Reckoners

The last book of the trilogy is complete, revised, and turned in. It's coming out in February, and is—indeed—the ending.

I have not closed the door on doing more in the world, but it will not be for a while. If I do return, it will be like a Mistborn return, where the focus of the books shifts in some way and I create a new series. I like leaving endings as endings, even if the world and some of the characters do progress.

I'm extremely pleased with the last book. I look forward to having you all read it, and I am grateful to you all for supporting this series. There were voices that told me something outside the Cosmere would never sell as well as something inside—but this series is neck-and-neck in popularity with Stormlight and Mistborn. It's a relief, and very gratifying, to see that people are willing to follow me on different kinds of journeys.

Status: Completed!

Questioner

Before Preservation locked up Ruin, or whatever, or if Ruin had won. Would atium exist?

Brandon Sanderson

...There are timelines where there would be no atium.

Questioner

...So if Harmony exists, does atium exist?

Brandon Sanderson

Atium does not exist because there is no Ati. Well there is atium left over from before, but--

Questioner

So it was only part of Ati's body and not part of Harmony's body.

Brandon Sanderson

There is no atium, there is no Preservation any longer, there is no Ati.

Questioner

So does harmonium exist?

Brandon Sanderson

...There's no Leras and there's no Ati, there's no Ruin--

Questioner

Does harmonium exist then?

Brandon Sanderson

Good question.

Questioner

I wondered if there's a bit of you in all the characters... and it's characters where they don't have bits of you that you get stuck with writing them, and how you overcome that?

Brandon Sanderson

Yeah, getting stuck. So characters are the hard one for me to talk about because I plan my worlds in great detail before I start writing, in most cases, and I plan my plots in moderate detail. I plot backward, I start with what I want to have happen for a plot cycle; not necessarily the last scene, but, you know, something like this character learns to use the magic, and I've got the scene where it shows that this is working, and then I list a bunch of bullet points underneath. That's my-- And so if you look at my outline, it's like goal, bullet points, goal, bullet points, goal, bullet points-- that's my whole outline.

My characters, I figure out who they are when the book starts, but I do not outline them in great detail. The reason for this is we find that writers tend to fall into two general camps. We have what we call outline writers, and discover writers. Now, discovery writers, George RR Martin calls them gardeners, they like to discover their story as they go. Stephen King says you never start with an ending in mind because otherwise it ruins the book, he just goes and see what happens. They tend to write character really well. In fact if you're reading a good and you go "Wow these characters all feel really vivid and alive", that's probably a discovery writer. If you're-- On the other hand outliners, or architects as George RR Martin calls them, tend to plan everything out ahead of time and because of this they tend to have spectacular plots. If you've got somebody who's got a great plot, it's a page-turner, the great twist at the ending-- that's most likely going to be an architect, but the flaw of this is they tend to have weaker characters; and the flaw over here is they tend to have weaker plots. Terrible endings are a horrible kind of habit of the discovery writer. 

Over time I've really tried to kind of mitigate this by letting myself discovery-write my characters to kind of get some more of that living character status, which means I have to have a flowing outline where, once I've started writing my way into the character I will then have to rebuild the outline periodically to match the person they're becoming, which sometimes rips apart that outline quite a bit. The other thing that it requires me to do is I often have to kind of cast characters in a role. Vin is a great example of this, where I actually tried Vin three different times--I posted one of these on my website--with a different personality each time until I got one that would fit the story that I'm telling, and who she was, and I went from there.

And so it's really hard for me to pick out what I do with characters, but if my book is not working it's almost always that a character is not working for me. And this happened with Sazed in book 3 of Mistborn. I wrote this in the annotations, you can go and read it off that. Dalinar, in the original draft of The Way of Kings. When a character is not clicking 100% it is the biggest problem I run into with books, that takes a lot of drafting to figure out what to do. With Dalinar, if you're not familiar with what happened there, is I split him into two people. It always had his son Adolin, but Adolin had not been a viewpoint character, and the problem I was having with Dalinar was that I wanted to present a strong figure for the leader because people though he was going mad, but I also had to have him talk about this madness, and be really worried about it, and so he came on very weak, because everyone thought he was going mad, and he spent all of his time brooding about going mad. When I took the brooding out to his son, and had Dalinar be like "I'm not mad, something's going on, everyone thinks that I'm crazy, but I can deal with this", and had his son go "my dad, who I love, is going crazy", those two characters actually both became more alive, and worked better, than they had with the conflict of "I'm going crazy" being Dalinar's. So, it takes a lot of work to figure these things out sometimes.

Questioner

When a Shard changes hands, does the god-metal change names and/or properties?

Brandon Sanderson

It can. It doesn't as a rule.

Questioner

So it'll still be raysium?

Brandon Sanderson

Yes. Well, the name, you would change the name, probably. But it shouldn't necessarily do anything different. The name that it's given is cultural. So you could continue to call it that. People might call it that. I think people in-world would call it something else. But depends on the person.

Questioner

This actually came out of a panel today. You'd originally said that Nightblood is way more powerful than a regular Shardblade, but at the time that question was asked of you we didn' know about live Shardblades, we only knew about dead Shardblades. So is that still true, now that we know we have at least two--

Brandon Sanderson

Oh he is more powerful than a regular Shardblade. *groaning and laughter* that is 100% still true.

Moderator

How does Nightblood compare to a more living Blade?

Brandon Sanderson

More living Blade? Hehe, you’re asking the same--

Moderator

No I'm asking a different question. *laughter*

Brandon Sanderson

Well, let's just RAFO that one.

Aethling

Is there a chance that any dead protagonists will miraculously come back (IE Vin, Elend, Lightsong) to help fight later battles? You have shown Kelsier having influence after he died, and Sazed makes a statement about keeping in touch with Vin and Elend.

Brandon Sanderson

I don't want to be unsympathetic to people's love for these characters, but I feel that as a writer I must resist the urge to bring back characters in this manner. I feel it would undermine my storytelling. I never want to get to the point where people read and the tension of a character being in danger is ruined by the thought, "Well, even if they die, they'll probably just be brought back in the future."

I'm not saying I won't ever do it, but I want to be very sparing. I like how Robert Jordan did it with a certain character's return in [Towers of Midnight]. It was foreshadowed, built into the story itself, and relevant.

There are characters--in the 36-book-cosmere-superoutline--who return when thought dead. Some have not met their perceived end yet, while others have. So it's going to happen, but I want it to be very rare.

Brandon Sanderson

Parlin as a Character

Any of you who followed the development of Warbreaker as a novel through the early stages know that Parlin, as a character, changed dramatically across revisions. He began with a different name (Peprin) and was much more bumbling and innocent. He provided some comic relief and often said dumb things.

This just didn't work. For one thing, we already have the mercenaries in Vivenna's viewpoint to give us some fun lines. (More on them later.) For another, Peprin was just too dense. I didn't like how stupid he came off. He seemed ridiculous rather than funny. So, I chopped him out and replaced him with a similar character who was more competent.

For instance, in the original draft, Peprin bought a hat because he thought it was cool—but it just made him look stupid. Parlin buys the same hat, but his reasoning is that if you're going to go about in the woods, you dress in woodland colors. If you're going to go about in the city, you want to start dressing in city colors. It's good reasoning, and you'll see him follow it more in the future. The two men do the same thing, but in my head the rationale was completely different, and that changed how I wrote them. (I hope.)

Reading through the book again, I still feel that Parlin just isn't enough of a character. With the mercenaries there to dominate the scene, Parlin gets lost. I feel that if I had the time, I'd probably chop him out again and replace him with yet another character, one who talks more, so that he can be more a part of things. Ah well.

Questioner

Is there a combination of two Surges that you wouldn't normally see, that'd be fun to write about.

Brandon Sanderson

Oh yeah. It was actually a tough decision to let myself-- make myself put them in the groupings that I did. Because my brain naturally wants to say, "What about this, what about this?"

What would be really interesting, you could do really cool things as a Stoneward with manipulating matter and changing it and stuff, and then burning things into it with-- whichever power that is-- [Division]... I should know. Well, I should know. But I always go look at the list. The Dustbringer power. But I think you could do really interesting sculpture type stuff with that. With the burning, you could add color to the things, to an extent. Like grayscale? But it's not really something that's built into the magic.

Questioner

Dalinar walks away with a gemstone. Was Yelig-nar taken as well?

Brandon Sanderson

RAFO. I will get to Yelig-nar.

Questioner

I have to say, I find more gospel conversations after going through The Stormlight Archive with people than any other fictional book I've ever read. Does that intentionally bleed in, or is that just part of who you are?

Brandon Sanderson

It's a little of both. I don't preach in my books. What I am determines part of what I find heroic. But I'm very fascinated by religion. So I like to have lots of different people in the books who have lots of different viewpoints on religion that talk about it, like we kind of do in real life. So, you know, you have someone like Dalinar, who is kind of very... almost revolutionarily faithful. And you have Kaladin who's just straight-up agnostic, "Don't know, don't care." You have Jasnah, who's an atheist. You have someone more like Navani, who's a classic conservative faithful. I just like having all of these different people interacting.

Blightsong

Was Hoid trying to become an Elantrian kind of in a way how Kelsier was able to connect to Preservation to take up the Shard?

Brandon Sanderson

Yes, the thing about it is you're getting Hoid before he knew as much as he did in Scadrial era, so what he was trying to do was completely ineffective and it couldn't have worked.

Questioner #1

Doesn't it get weaker the farther away you are, so it wouldn't help at all.

Brandon Sanderson

Mhm.

Questioner #2

Well we have an example of an Elantrian on Roshar, so.

Brandon Sanderson

Yes we have an Elantrian on Roshar, but we don't see him use any powers, and his skin is dark on Roshar rather than glowing, granted that could be a disguise. That is something to be aware of.

Matt

Were you tempted to have Kaladin be taken by Odium?

Brandon Sanderson

Yes, I was tempted.

Matt

What is it the held you back from doing that?

Brandon Sanderson

Kaladin, if I were going to do it, I would have done it with Dalinar. The reason being that Kaladin as a theme represents his triumph over the darker parts of his mind. And Dalinar represents that too, but he also represents in some ways, succumbing to those. Like those are both themes for Dalinar, and for Kaladin it just would not ever have worked--I don't think--reasonably well. And beyond that, Kaladin is not scary as a villain, because Kaladin's strength comes from the people he's trying to protect. Kaladin's really scary to face when he thinks you're going after somebody he's trying to keep safe, that is when Kaladin is dangerous. Or as you saw in Rhythm of War, when you've gone too far, right? But Kaladin as an overarching villain, I don't think would be scary. Dalinar would be; Dalinar would be terrifying in that situation, but I don't think it would just add very much. If I were going to have had one of them, it would have been Dalinar.

Questioner

As it happens with any great character I think background is really important, so briefly, because I know you've talked about this a million times, how did you first become interested in fantasy and when did you realized, okay I want to do this for a living?

Brandon Sanderson

So, unlike a lot of writers, I didn't enjoy books when I was young. I had a teacher, eighth grade, her name was Ms. Reader, this is true, and she knew that I was goofing off a little too much in my literature class. So, she took me to the back of her room, where there were a whole bunch of old books, paperbacks, that a hundred students had read, and she said, "You need to read one of these and report back to me, because I know you're not doing your readings for class." So I browsed through these reluctantly, and I eventually settled on one that looked pretty cool. It was Dragonsbane, by Barbara Hambly, with this gorgeous Michael Whelan cover. It had a dragon. It had a cool looking guy. It had a pretty girl; that was more important. I thought I'd give it a try. I was fourteen, so... I loved this book.

This book changed everything. I fell in love with the fantasy genre. From this, I discovered Anne McCaffrey, who was the other fantasy author my school library had, and over that summer after my eighth grade year, I read everything I could get my hands on--Terry Brooks, David Eddings, a lot of Melanie Rawn--and just absolutely fell in love. And these books meant something to me, there was a powerful emotion to them, and I thought, "I have to learn how to do this."

Questioner

And about when you sort of decided you wanted to do this, it was around that age as well?

Brandon Sanderson

I would say it was maybe a year later that I started writing my own book, my first one. It was terribly, absolutely terrible. It was a bad combination of Dragonlance and Tad Williams, but I loved the process of writing it. And I was a teenager, so I didn't know it was bad, I just loved doing it.

I actually went to college my first year as a chemist, which you can see maybe coming out in my books a little bit if you've read some of them and seen the magic, but I did not like the busy work of chemistry, right? While I loved the thoughts and ideas, the actual sitting down and figuring how many atoms are in a table or whatever, I hated, and I always contrasted that with the writing where I loved the busy work. I could sit down and work on a story, and forget that four or five hours had passed. That was a really good sign to me for writing, and a really bad sign for chemistry.

Brandon Sanderson

One of the things I read when I was researching for Stormlight that was really interesting, I kind of dug into, was this idea that practical medicine, particularly through the Middle Ages up approaching the Renaissance, was actually the one that was regarded with fear, superstition, and dislike. Which is why it fell to the barbers. And what we would call the "superstitious physician" was a well-respected position, depending on where you were looking. And it was this weird area where people who were approaching things practically and actually doing what you needed to do, were being ostracized and vilified. It wasn't as bad as being an executioner; that was the worst deal. But there was this sort of thing, that those people stayed-- You did not want your son or daughter marrying into that family, and these sorts of things. It was really interesting.

Ted Bade

As an author, you can completely control all aspects of a story, the environment, and the characters in the story. When you move to a game realm, there will be many limitations and aspects you can't or won't control. How important is it to get "right" the following aspects of your fantasy realm? What do you plan to do to ensure they work?

a. The look and feel of the environment, which includes environmental sounds, and music

b. Character dialogue and interactions, as well as NPC dialogue and interactions

c. The storyline and sequences of events

d. Other aspects very important to you

Brandon Sanderson

This is quite an in-depth question. Certainly the things you mentioned, that you can't control all aspects of the story, are a consideration. The bigger thing for me with a video game, that is different from my own work, is that a video game is a collaboration. A novel in most cases is a solo work, certainly with the help of talented editing staff and art direction and things like that—but at the end of the day, I can do the bulk of the work on the book myself. On a video game, I can't. Nor would I want to.

On a video game, you take a step toward films where you need to have people who you trust working on aspects of the game that you yourself can't do. Certainly the look and feel and all these things you're talking about—I can oversee them, and Little Orbit has been great; they're showing me concept art and things and saying, do you like this or do you like this? What feels more like Mistborn to you? But at the end of the day, I have to let them do their job, which is program a great game, and come up with an engaging and fun system.

I can have some input in it myself, such as the dialogue and story—I can step in and say hey, I know how to do this; let me do it. So I have done that for this game—I've stepped in and I'm writing the dialogue and the story myself, and I'm going to try to make it the best it can be to match Mistborn. From there I'm working with and trusting people whose job it is to make great games be great.

LerasiumMistborn

Why is Dalinar so hard on himself? He values his intellectual capacities very low (Well, he constantly thinks he's dumb) and so on. Considering how wise and humane he really is, I'll admit, it's sad that he sees himself in such a negative light.

Brandon Sanderson

This is a tough one to answer. Why are people hard on themselves? It's something a lot of us tend to do, and doesn't correlate with how much we deserve it. That doesn't stop it from happening, though, even when pointed out.

XMikethetrikeX

A question regaurding Feruchemical iron:

So, while Sazed was guarding one of the gates to Luthadel, he tapped weight to compensate, he had to tap pewter as well. Also, when he was climbing a tree, his strength to weght ratio rised, making it easier for him to climb it. Wax doesn't have to do this- when fighting Miles on the train, he's fine without any sort of muscular enhancement, and when he is climbing in the sets base, he notes that he does not make himself lighter because it would simply decrease his weight and strength equally (in contrast to Sazed climbing the tree).

So, is this difference for the same reason people can push/ pull on atium, being the you hadn't fully developed your idea for the cosmere yet? Or is it some other reason?

Brandon Sanderson

Hmm. I think the mistake is more on me writing the Wax scene than in the original. (For him climbing, specifically.) I'll put Peter on this and see if it's a continuity error we want to fix.

Questioner

How many Breaths would it take to infuse a gemstone?

Brandon Sanderson

Gemstones would be not that hard to infuse with Breaths. Like, you can get one glowing pretty well with one Breath... Depends on the size of the gemstone, obviously.

Marc Aplin

Something I found interesting between Brandon Sanderson and other writers. Peter Brett, for example, when he finished his Painted Man/Warded Man book—depending on which country you're in—his agent did like it, but he said that there was some things in it that didn't quite fit the market. So Peter went away, he read this book—Writing to Sell, I believe it was called—and he came back and gave his book back to the agent after having kind of revised it from this book. And the agent loved it, and you know what happened with that one. It's one of the most popular fantasy series going on at the moment. Something similar happened to Brandon. When he sent his work out to publishers, they thought it was good, but they weren't really sure how it met with the market's expectations. Brandon went away, he started writing stories that he thought the market would like, and in his own words, he thought it killed his writing. So, what I wanted to know from Brandon is, what is it about his work that means he can't write towards the market successfully; instead he has to, in his own words again, write from the heart to make his story successful.

Brandon Sanderson

That's an excellent question, and there are different viewpoints on this. For instance, I remember talking to John Scalzi, and he said, "You know, when I wanted to publish, I went and looked and saw what was cool, what was selling. And I went and I wrote my own take on some of that." And that worked fantastically well for him. And I think for me part of the problem was—now, one thing I'll add as a caveat to this: yes, write from the heart, but make sure you are reading widely. Read widely what you want to write, but also read a lot of things from varying different genres and whatnot.

I just found that if I tried to anticipate what people wanted, rather than writing what I wanted, I wrote terrible books. And when I gave no care to what people wanted and only gave care to what I thought made a fantastic book, I did a good job. And this might have to do with the fact that I was just bad at judging what people wanted. That could be it. But probably it has more to do with the fact that I naturally write... A lot of my books added a big, long epic length. And what people kept telling me is, you need to write shorter books. You need to write books like so-and-so. Or like so-and-so. And that was wrong advice for me. I didn't need to write books like so-and-so, or like so-and-so. I didn't need to write books like George R. R. Martin, as fantastic a writer as he is. I didn't need to write books like him; I needed to write books like me. And that's what worked for me.

Different writers will have different things that work for them. And certainly I can write...I can write things that...like for instance, I write on the Wheel of Time. And in those cases, I'm taking very...I'm taking a lot of pain to make sure that what I'm writing fits with the genre, with the stories that have come before, and what the readers expect these stories to be like. And so I can do it. But I love doing it on the Wheel of Time. And I don't know what the difference is between doing it there on the Wheel of Time and those early days that I spent trying to write toward the market and having a horrible experience.

For me, I need complete creative freedom; otherwise my books have no life to them. And even with the Wheel of Time, Harriet is giving me complete creative freedom to do whatever I think needs to be done to tell great stories. And I think I thrive in that situation. If I instead had come into the Wheel of Time and they would have said, "You have to do this exactly, this exactly, this exactly, this exactly," I think I would have done a poor job. I would have been the wrong author. But that's not what they wanted; they wanted someone they could turn it over to, who would really take ownership of it. In a small part; of course it doesn't belong to me, but you know what I mean. I take real pride and say, "I'm going to do this the best way that I know how." And not just write a book and be done with it, but say, "No, this is..." I can't even explain the difference. This is me now. The Wheel of Time, I am inexorably linked to it, and my soul is linked to it. And those aren't those books I wrote for these people. Those are books that I am deeply, deeply, emotionally involved in. And I can only, I think, do that because I've reading them for so long since I was a kid.

Questioner

I had a question about how the Alethi women exhibit their wealth through their dresses. So I know there’s embroidery in the fabric and the fact that you're kind of disabling one arm? But besides that?

Brandon Sanderson

So gemstones, like well cut gemstones and then fill them with Stormlight. 

Questioner

Oh ok, but they're round, so...

Brandon Sanderson

No no, not the spheres, the actual stones. Gemstone rocks will still hold-- The sphere is just the way to make sure you don't lose them, you can make any sort of jewellery or gemstone, in your hair or anything like that, glowing would be how they would show off their wealth.

Brandon Sanderson

I've come to the mindset that there are two general ways to approach adaptation. One is to try to be very faithful to the actual text, and the other is to redo almost the entire thing for the new medium, while trying to keep the soul of it the same.

I've actually written treatments of Mistborn that do both of these. As an exercise, I did one more recently (for the screen) where I threw out every scene from the book and asked myself, "If I were doing what was absolutely best for a film, but telling the same story, how would I have written this?"

That treatment for that screenplay was very different from the book, while at the same time still being the book--same soul, same characters, same basic plot beats. But no actual scenes from the book except Vin/Elend on the balcony. Everything was approaching the story from a cinematic viewpoint--and I found that in a lot of cases, this new treatment was stronger.

There is, of course, a continuum between these extremes. But it taught me a lot about adaptation. And the Wheel of Time I saw tonight was absolutely worthy to be called the Wheel of Time, even though a lot of the scenes were new.

My perspective is, perhaps, skewed by my experiences. I tend to be someone who LIKES seeing film and television adaptations do new things. That doesn't prevent me from, as a producer on this, warning Rafe of places where I think the fans will prefer he stay closer to the source material. (Indeed, there are lots of places where I would prefer that he did.) But it does let me appreciate what he's doing, and how well it works. And a part of me likes that I can go and treat this as something new, rather than just a clone of something I've already read some two dozen times.

Vegasdev

How many moons circle Scadrial, i.e. when the planet was moved were the moons moved as well?

Brandon Sanderson

Scadrial has no moons. I think I let slip the phrase "he's mooning over her" somewhere in the third book, but that is just a translation quirk to English. These people have no concept of a moon. There is a very bright star patch, however, covering much of the sky—much brighter than on Earth.

Questioner

How has your worldbuilding changed over time to date.

Brandon Sanderson

So, it's become a lot more deliberate. And it has become more-- One thing is I've let myself push further. I've found that worldbuilding is one of those areas in storytelling where I can let myself kind of off the chain, off the leash, and go steps further than I thought I could, and it still turns out well. A lot of times if you do that with story, for instance, if you do that with plot, the way to kind of go off the leash and do something unexpected with plot is to do something that's not foreshadowed and is not satisfying, which can make for a really interesting story. Go watch Into The Woods if you want to go see something that-- Yeah, half the audience groaned when I mentioned Into The Woods, for a good reason. That's not a reason to not tell those stories, but experimenting with plot can, in many ways, be something that fails pretty spectacularly. Good to do it, it's good to learn those things, but worldbuilding, I've found, I haven't found that I've gotten ever too far where it's failing because the worldbuilding is too different. I've failed with my worldbuilding because I haven't brought the elements together. In fact, Apocalypse Guard, one of the reasons I pulled it is the worldbuilding was not working. And I can't release a Brandon Sanderson book with bad worldbuilding, right? *crowd laughs* That's like the baseline, "No." It's not the only thing that was broken in it, but it was one of the things that was broken in it. So, more deliberate, allowed myself to stretch further, and I would say I'm always kind of looking for those conflict points, nowadays, in the worldbuilding. The points of conflict are really interesting to me.

Questioner

I have a question about Roshar. Um, how big is this exactly?

Brandon Sanderson

Um, I can get you that if you write to me, because I--I just have to go to the maps.

Questioner

There's a lot of like--physical description *audio skips* And the different races and cool descriptions for like the cultures and stuff. I was wonder if there's like a reason for that in the world?

Brandon Sanderson

Oh, yeah, well there's a couple reasons, for instance-- You know, ask me after you've read the third book, and then I can give you some spoilerific sort of stuff, that's-- that comes out in the third book-- I can stand upon it. Um, but yeah I can also-- we can also give you the distance. I think they have it on the 17th Shard. Isaac-- we didn't put the map of actual scale in it, just because we-- I dunno why, I just decided not. But we have it. I let Isaac and Peter kind of nail that down. I say, "This distance is about this far." So they figure out what the rest of it is. But the planet Roshar is smaller than Earth.

Questioner

That--that's interesting.

Brandon Sanderson

Yeah. And the continent--I mean, but it's one supercontinent, and so it's fairly big, but--

Questioner

I mean, you can travel across it on a storm.

Brandon Sanderson

Yeah, yeah, yeah, yeah, yeah. Uh-huh.

AndyGranny

The Five Scholars traveled from Nalthis to Roshar. And Intent is very important across all of the Cosmere. But also, Sel is actually closer than it is to Roshar. And from everything we know right now, when it comes to Intent, the Intent of using the Aons mirrors sort of Awakening. So did they travel to Sel as well, and has that influenced the way Nalthians learned to Awaken?

Brandon Sanderson

That is a RAFO for right now. Let's just say that the things that happened on Sel that prevented travel were not in place several thousand years ago.

What I sidestepped is whether the Scholars had been to Sel, I heavily implied people from Nalthis had been to Sel. Don't take that as canon, that it's specifically the Scholars. That part is a RAFO.

MiToRo94

When Dalinar first goes to meet the Nightwatcher and he sees Cultivation as well, presumably.

Brandon Sanderson

He does.

MiToRo94

They are surrounded by a green mist. So is that mist comparable to Preservation's mist on Scadrial? Would that be like "Cultivationlight?"

Brandon Sanderson

Yes, that is in the same sort of vein. 

Questioner

You were mentioning outlines before. I was just wondering, when you start your outlining and you're done, is it usually a very clear process of outline and writing, or do you go back and forth and back and forth?

Brandon Sanderson

The question is, "Is it a clear cut process of finishing an outline and then writing, or do I go back and forth," and it's the "go back and forth."

Usually what I can do is I can get an outline about three fourths of the way there before I need to start writing. The issue is, I share a little bit with the discovery writers in that I tend to discovery write my characters. I don't usually outline my characters nearly as much as I do my world and my plot. But the problem is, characters then can evolve to being people that wouldn't do the things the plot calls for them to do, and in that case I have to rebuild my outline to fit who the character is becoming. I find if I don't give myself that flexibility, the characters start to feel wooden, and start to feel like they're cardboard instead of real people. So this requires jumping back and forth with that outline, and changing things and knocking out walls so to speak.

So an outline is not a rigid structure I have to follow. It's a guide map to where I want to go, but sometimes I might change the destination or I might want to take a deviation. And at that point I put down the book, and I go back to the outline, and I rebuild the outline, and then I go back to the book.

I also have something I call the floating outline, which is-- It's a separate document that's the next three chapters in detail, outlined out. The main outline may just say, "Bullet point: characters go here and accomplish this." But then the floating outline has, "Well I need to work in this character relationship, and this scene, and this little part of the worldbuilding. And this part over here is an info dump and boring, so let's do that in an interesting way. And let's have Shallan stab herself in the leg while she's doing it," or things like that in order to build an actual scene rather than just a lot of info dump.

Questioner

Will Stormlight Archive ever possibly get an anime?

Brandon Sanderson

Will Stormlight Archive ever possibly be an anime. Anything is possible. *laughter* But it is unlikely unless somebody comes to me and really wants to make one. It's not a market I know well enough to pursue. I'll watch good anime when my brother gives it to me, but it's not like I know that market and how to make it happen.

Phillip Carroll

You teach a class at BYU. What are some of the typical mistakes you find writers in that class make?

Brandon Sanderson

Oh, there's a whole host of things we can talk about in this realm. I teach the class because I actually took the class when I was an undergraduate, and they were looking for a teacher—the teacher who was teaching it moved on—and I took it on because I didn't want them to cancel it. It's how to write science fiction and fantasy. And I would say that one of the big early issues with fantasy and science fiction writers is the infodump. They don't know how to balance those early pages, those early chapters, in making it interesting and exciting without dumping a whole bunch of worldbuilding on us, which is a real challenge because...we just had a panel on this here at the con; worldbuilding is what we read science fiction and fantasy for; it's the cool stuff; it's the cream that drives us to read this; it's what we love, and yet, throwing too much on us at the beginning can really stifle a book, and I would say that's a big rookie mistake.

Another big rookie mistake is assuming that all it takes is writing one book. Most authors, you know, you learn to write by writing. I like to use the metaphor lately of learning to hit a baseball with a baseball bat. You only learn to do that by practicing; you can't read about hitting a baseball and then go out and know how to do it. Certainly reading about it is going to help you with some things, and as you're swinging that baseball bat, the pros are not thinking about which muscles they're moving. They're not thinking about necessarily even their stance at that point; they've just done it so much and done it so well that they get to the point that they can do it, second nature. And that's what a writer wants to learn to do. And you do that by, at the beginning, you do think about your stance. You do think about your grip. You do work on these...you target certain things and you learn to extend the metaphor. You work on your prose or you work on your characters, or you specifically hone in on this, but at the end of the day, writing a lot and practicing is what's going to teach you to fix problems in your writing by instinct. And I wrote thirteen novels before I sold one. I don't think everyone has to do that, but I certainly think that your first job to do is to finish one novel, and then you need to start writing a second one.

Questioner

I have a question about the singers. If one of them were to reach the Third Heightening, would they then be able to sing the pure Tones of Scadrial?

Brandon Sanderson

Yes. They definitely could. They might be able to before they reached that Heightening, as well.

Nallebjurn

Is it a possibility that we in the future get to see the characters from Children of the Nameless represented on magic cards?

Brandon Sanderson

It is a possibility, but as the other responder mentioned, I don't have any control over this--I think it's likely, but I certainly couldn't say when. I think the fact that Dack got a card--after being created by the comic book team--bodes well for Davriel, at the very least.

Questioner

How's Skyward Three going?

Brandon Sanderson

It's going really well. I am loving writing Skyward Three. It is really fun to have a change of pace, to do a single viewpoint narrative in first person after working on the Stormlight Archive for so long. Epic fantasy is my first love. I really enjoy working on them. But by the time I'm done working with a Stormlight book, I need a change of pace, which is how my whole writing life is built around, giving me those changes of pace. And Skyward is the perfect break from Stormlight. It was designed that way. Just writing from Spensa's viewpoint is a blast, and it's fun. 

And I designed Skyward Three to be a little bit more of a popcorn adventure than Skyward Two was (and then Skyward Four will be), just 'cause I knew I would need that after Stormlight Three. So if you're looking forward to a fun adventure fiction that does deal with Spensa's character arc in ways that are still meaningful, but most of the story is just me having fun, then look forward to Skyward Three.

StormAtlas (paraphrased)

Why can Kaladin Surgebind with any gem type but Jasnah and Shallan need specific types?

Brandon Sanderson (paraphrased)

A lot of that will be explained as the series comes along. It is really the difference between Soulcasting and the other forms of Surgebinding. It's more a quirk of Soulcasting than it is something that is different about about Kaladin. So you've kind of got it reversed a little bit though; Soulcasting has this additional restriction that the other ones don't.

Brandon Sanderson

The video game is coming along very nicely. In fact, earlier just this week I built the whole plot sequence for that. It’s going to have some really good twists and turns and theoretically, if it works well, I will be writing all the dialogue and all the story.

Audience Member

Which is more on your plate

Brandon Sanderson

Which is more on my plate. But that can be fun, because the main character is a really sarcastic kind of a little bit of a jerk. And so I can actually write his dialogue on napkins while I’m sitting, waiting and be like “Alright, here’s a good line,” and things like that. That’s because most of it is gameplay. I have to just come up with lots of good wisecracks and then of course, I have to write the cutscenes. But those really aren’t that much in a game like this. It’s maybe a week’s worth of work to get all of that written.

Zas

How long before is the game going to be? I remember you saying it was going to be before Final Empire, but I was wondering how long before?

Brandon Sanderson

We are shooting for second century after The Lord Ruler's Ascension.