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Brandon Sanderson

Vivenna Talks to Jewels about Religion

I'm very conscious of the fact that all of my major viewpoint characters in this book—Lightsong included—don't believe in the Hallandren religion. That worries me because the book presents a very one-sided view of their beliefs.

Religion isn't a simple thing. In my books so far, I fear that I've presented the religions in a far too one-sided way. Hrathen with his Shu-Dereth, the Lord Ruler and his religion—these were not the types of religions that are very enticing to readers. The characters, even those viewpoint characters who followed the religions, didn't present them very well. (And, in truth, the Lord Ruler's religion—the Steel Ministry—was a pretty despicable religion.)

In this book, I wanted to present several different viable religions. There is something to be said for Austrism, with its goodly monks and teachings on humility through the Five Visions. But it's a very superstitious and xenophobic religion at the same time, and it is very biased against the magic of the world. The Hallandren religion has more going for it than the characters would like to accept.

So, even though most readers might consider this a throwaway scene between Vivenna and Jewels, is a very important one to me. It is the place where we get to see a follower of the Iridescent Tones really stand up for what she believes. Vivenna deserves to be smacked down here, I think.

Questioner

So when it comes to the superhero genre and female characters, I feel you have the two types. You have the damsel or the super sexualized black widow that is awesome. How has that been a worry for you?

Brandon Sanderson

So she's talking about the-- In superheroes you usually have the damsel, so you have the Mary Jane that needs to be rescued, or you have the black widow, hypersexualized thing like this, and the question is has that been a worry for me. It is something that is in the back of my brain, it's not  just a problem in superhero fiction, it's one of the ones that it is most manifest in. You will find the problem in most genres of speculative fiction, especially action genres. There's also what they call the-- There's the archetype of the Mother and the Crone. Those are your archetypes that women get to play. And it's been in the forefront of my brain a lot, in my writing, because I think as a writer the further you go as a writer the more you need to be aware of when you are falling into a cliche and when you're not. So yes it is something I've thought about quite a bit, particularly when I was writing Firefight "How am I going to deal with Megan as a character? And how am I going to deal with Mizzy as a character? And how they differ." So it was something I was thinking about very consciously as I working about on these books.

I think one regret I have a little bit is that I feel Mistborn I did a great job with Vin, but there's not very much of a female supporting cast in those books. It's kind of the archetype  that there's one girl in the whole city and then everyone else. And you kind of run into this and things like that and I was a little less conscious as a writer in those days. But it is something that I think all writers need to be aware of. The thing is that we talk a lot about feminist theory because it tends to be most manifest when men are writing, but when women write there is also one that they do that is they tend to make the guy like this perfect guy and what happens is the guy has no personality he's just perfection and the girl is either a klutz or a doofus or she can't do anything right and the guys are all these perfect ideals. And that's when women write, when men write it's like the girl exists to be saved or to be lusted after. You just have to be aware as a writer these are going to be very natural to you because of our society or whatever we've seen a lot in storytelling, and you just have to become aware of them. And as soon as you become aware of them you can start working on them.

The easiest way of getting away from doing this is to avoid tokenism, meaning if you are going to put someone in who is a certain ethnicity or is different from yourself or one thing like that, if you force yourself to put two in you then suddenly can't make them the stereotype because otherwise they are the same character and that forces you to really think about that and is one very easy way. I can go on for hours about that so take my class and ask me and we can talk about it.

Questioner

On about Wayne from The Alloy of Law, so reading the first book everyone's smiling because he's a rascal. But he's not really a rascal in the first book. You slowly turned him into a rascal in book 2, filling in what he's done in his past. Book three just a downright rascal... I wanted to know your progression of that character mirrors your progression of that world because the Alloy of Law isn't particularly gritty, but in book three you've got a bit more grittiness.

Brandon Sanderson

See, I would argue that two is the grittiest of the three, personally. It's hard for me to talk about this one just because I wrote Alloy of Law as an experiment to see if I liked it, and then I sat down and built a trilogy about those characters, so you could almost imagine that Alloy of Law is a standalone, and the next three are a trilogy about those characters. I don't know that I made any specific decisions in any way, I just said "what is the story I want to tell about these characters with these three books", and then I took them and I dug into them and I felt like I hadn't dug into them deeply enough in Alloy of Law, to really who they were. It was done, again, kind of more as a free writing experiment than an intentional novel, even though I did have an outline and things for it.

The books two, three, and four--which form a trilogy--have a distinct outline. Any changes are changes kind of focused on that idea. That I took something that was kind of like a seed for a trilogy and then built a trilogy around it. I didn't make any specific determination that I would be more gritty; I think the second book is grittier because of the difference between hunting a group of bank robbers vs. a serial killer. That's gonna have some natural move towards that, but it's not any specific event. That said, reader response is kind of how you decide on these things. I just kind of write the books as I feel they need to be and what you get out of them is certainly valid.

Questioner

Can you talk a little bit about writing your action sequences?

Brandon Sanderson

Writing action sequences, alright, alright... So writing sequences. The trick to writing an action sequence as a novelist is to not try to do what Hollywood does well, on the page. Instead do what a book does well. What I mean by that is, I can watch, like I assume most people can, Jackie Chan, he can fight for an hour and I'm loving it. He can introduce physical comedy into it and just the punches and stuff are just great, the blow by blow is fun. But if you tried to write a blow by blow in a book, you know "he punched him", then "he kicked him", then "he punched him really hard", and then "he jumped over and kicked him" it would just get boring. And so the way I think to write and engage the action sequences is, number one, make sure the reader knows very soon on what's at stake and have them care about what's at stake. Number two, get them inside the head of the character, so what the character's thinking, feeling and what connections they're making. In other words, make the fight sequence into a puzzle. Your main character's got to solve this puzzle in some way, and maybe the way to solve that puzzle is to just stab a bunch of people really hard, but you want to follow that thought process and have motion in the scene that involves the character's desires, goals, and thoughts, and things like that, and you'll have a stronger action sequence that way. It's the sort of thing that movies can't do. They can't show you the thoughts unless it's David Lynch doing Dune, and then-- have you seen that movie? You know how that turned out, it was really weird.

Brandon Sanderson

Chapter Three

Wax investigates

If you've read the book, then you probably won't be surprised to find that a partial inspiration for it was the Sherlock Holmes stories. Of course, you'd have to search pretty far to find any kind of detective story that isn't somehow influenced by good Mister Holmes. This story, however, is more consciously inspired along those lines. I purposely developed a mysterious (almost even magical) series of robberies along the lines of what you see in the Holmes stories. The technological era is similar as well.

Of course, the characters are much different—even down to the character roles and dynamics. I wanted Wax to be a thinker, but more of a lawman than an eccentric. Wayne has enough eccentricity for three characters. I wanted the way that Wax approached solving a problem like this to be more methodical, more like a lawman who has grown accustomed to doing things on his own—but who has procedures he follows.

Beyond that, I wanted Wax to be solid. Many people are going to prefer Wayne for obvious reasons, but I prefer this story to be about Wax. (I'll talk more about Wayne's origins later.) Wax's solidity helps anchor the story, I feel. Perhaps I find him more interesting than others will, but the different parts of him that are warring inside create for a stronger dynamic than some of the other characters, who are more static.

Questioner

I have a question about process. When you start writing on a series how much of it do you have mapped out in advance and at what point does something that you're writing make you change direction completely?

Brandon Sanderson

What an awesome question. So how much do we have mapped out and how much-- before we start a series in specific-- and how often to we do something that makes us change, to do something else, or whatnot...

...See I had an advantage over Jason in that, when I was writing Mistborn I had just gotten married and my wife had a very lucrative job as a middle school English teacher *laughter* and so I quit my job, which was working at the front desk at a hotel and was able to write full time almost from the get-go. You can thank Emily for that. That she believed in the fiction, she took care of me while I did this work. And so I was able to write all of Mistborn before I had to turn in the first book. Just so that I could make sure that I could make these connections.

These days what I do-- Because I can't do that anymore-- I usually write the first book of a series just-- I write an outline for it and I write the first book without any sort of feeling for the rest of the series. This isn't quite what happened with Stormlight, that's the outlier, but for most things. Like The Reckoners, or the Wax and Wayne books, and stuff like that. Write one book and then with the book in hand and knowing the characters very well I can more accurately feel out what their arcs can be and things like this. Like the problem with being a planner-- I'm very much a planner-- is that if you over-plan your books, your characters feel stale, right? They feel wooden. And so, write that first book, let the characters have a lot of freedom to become who they need to be. And then I outline the rest of the series in great detail, so I can put into the first book any references that I'm going to need for future books in the series. Just so that I can know where things are going. I'll re-write the characters a little bit, so their arcs now match the over-arching arc they will have for the series, and things like this. So most books, it's "Finish the book, then write five pages about each book in the series, and then revise the first book and write the rest of the series."

With Stormlight I spent a lot of time planning the series. It's the one where I have the most time on. It's a different beast entirely. I went into Stormlight knowing what Dalinar's arc was, knowing what Kaladin's arc was, for the whole series and things like this. But I still did a lot...

DrogaKrolow

This might be a really weird question, but how do you feel about killing your characters in books? Are getting sad, or angry, or you are just like you feel it just has to be done and "sorry, not sorry"--

Brandon Sanderson

It's kind of the last one, it has to be done. It's more along the lines of, this is what the character has been pushing toward and kinda demanding all along, and I will let them do what they feel they need to. I rarely feel like I actually kill off characters, I more feel like, characters take risks all the time and I can’t always pull the punches, once in a while I've just gotta let them pay the consequences.

Questioner

Was there ever a time when you had intended to kill off a character, but changed your mind because you liked them too much?

Brandon Sanderson

Hmm... I'm trying to think of whether or not this happened. I do believe that Adolin died in the original draft of The Way of Kings, which I wrote in 2002. he had a much smaller role in that book, and it played out very differently. When I did the newer version, which I rewrote from scratch, Adolin evolved much differently.

For those who don't know, he wasn't intended to have as large a role in the plot--but I ran into a problem during writing. Dalinar was feeling inconsistent as a character. I wanted to present him as strong and confident, but at the same time had him troubled by worries that he was insane from visions he was seeing.

This worked in outline form, but when I actually wrote, it seemed like he spent WAY too much time standing around worrying that he was crazy. So I expanded Adolin's character, providing a contrast. Dalinar, confident (to an extent) he was seeing something real--and his son, who worried his father was going insane.

Through this development, and giving Adolin more time on the page, he became a much more rounded character.

Another instance of this was Spook from the Mistborn series, who grew to have a much larger role than I'd originally intended.

There's another in this category--but it could include spoilers for an upcoming book. I'll talk about it eventually.

Brandon Sanderson

ETA: Szeth originally died permanently in the end of Words of Radiance. I also changed my mind to let Amaram live in the scene with the poison dart. Adolin killed off Sadeas instead.

Questioner (paraphrased)

I was wondering if any of the characters from interludes will end up with their own books.

Brandon Sanderson (paraphrased)

Yes, they will. Lift, specifically, is one of the characters in the back five. I think she might be the only one who has had a view point so far. That’s, um, no … There are others. So, yes, interlude characters will end up with their own books later on. Right now they’re side characters.

Brandon Sanderson

So the question is: I use a lot of religion in my books how do I balance that with my own personal beliefs?

So, I'm a religious person and what this has done to me in specific is make me really interested in how religion affects people or how the lack of religion affects people. I find that the real fun of reading and writing, raising interesting questions, and approaching a topic from lots of different directions, is a thing that is really fascinating to me. I ascribe to a school of thought that I kind of-- this is a little unfair to these gentlemen but I kind of divide it among the Tolkien and C.S. Lewis line of those two were famously in a writing group together, and if you don't know Tolkien actually converted C.S. Lewis to Christianity, which is very interesting, and they were both deeply religious people, and they approached it very differently in their fiction. C.S. Lewis felt that fiction should be didactic and teach you a lesson and Tolkien repeatedly refused to tell people what he thought the themes in his books were. When they would come up to him and say "It's a metaphor for World War II, isn't it?" he would say "No, it's a story." And I am more a Tolkien than a C.S. Lewis.  I like with fiction-- I consider myself a storyteller primarily, and I hope that a good story is going to raise interesting questions but that has to be focused around what the characters are passionate about and what they are thinking about. And so I try to populate my books with people who are asking interesting questions from a variety of different perspectives.

I said on a panel I was on yesterday "Nothing bothers me more than when reading a book where someone has my perspective, there's only one person, and they're the idiot. Whatever it is that they are an idiot about that I agree with."  And I'm like ahh can't you at least present my side-- I want everyone who reads my books, regardless of their religious affiliation, if they see something like their own belief system in there I want them to say "Yes, he's presenting it correctly." And part of that means that I have to approach my fiction in certain ways, for instance, I like fiction that is ambiguous to the nature of deity, if there is one. I want-- If you can create a book with really cool atheist characters and then go "By the way here's this all powerful, all knowing benevolent god that he's just refusing to acknowledge" that undermines that character completely. And so I create my fiction so that the different people on the sides of the argument, just like in our world, have good arguments on both sides. And I think that if you present characters with interesting choices, making interesting decisions you will-- truth will rise to the top. That's kind of one of the purposes of fiction, is to discuss these issues. So that's kind of a roundabout answer to your question, that as a person of faith how I approach writing my books. I'm not sure if it's the right answer, but it's the answer I've been giving lately.

Questioner

What inspired Steris?

Brandon Sanderson

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

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

Brandon Sanderson

Chapter Sixteen - Part Two

Sazed's nature as a eunuch was stabilized in my mind almost from the beginning of the formation of his character. With the Lord Ruler trying so hard to breed a perfect race of Terrisman servants, I felt that it would be important for him to castrate most of the Terrismen. In addition, I've never written a eunuch character before, and really wanted to see if I could deal with one in a good way.

I read up on what castration does to a man when it's preformed before puberty. Often, apparently, the result is obesity. Another result is that the person grows taller than normal (for some reason) and their arms grow longer in proportion to their bodies than regular people. I didn't make Sazed fat–I think that had been done too much for eunuchs–but I did give him the other physical characteristic.

He continues to grow more complex as a character as the book progresses. That's one of the things I absolutely love doing–giving readers a side character that they think will only be secondary, then building his motivation and complexity until he becomes one of the most important figures in the story.

Brandon Sanderson

Butler's betrayal

Yes, the butler is a traitor. It's a cliche, but it fit the narrative very well, so I went ahead and used it. I don't think a lot of people will see it coming, though there are several clues. One of them is the fact that he makes only one cup of tea here and brings it for Wax; Tillaume is not accustomed to killing people, and he's extremely nervous in this scene. That's why he made the mistake of not making three cups and bringing them all over. (My writing group caught this, which amused me. They thought it was a mistake in the writing, though.)

One of the things that made me want to write this story, and keep going on it after I'd started, was the chance for good banter between Wax and Wayne. They play off one another well, and I haven't had a chance to do a book in a while (ever since the first Mistborn book, really) that had a good, long-established relationship between main characters who I could play off each other in this way. There is something deeply satisfying for me about this kind of writing, even though it's really just silly banter. I feel as proud of moments like Wayne toppling over because of the tea, then the conversation in the speed bubble, as I do of a deep character complexly coming to a character climax at the height of a story. That's because, at least as I see it, this is as technically difficult to pull off—the right feel of two characters with a very long relationship, talking in a way that conveys their years of experience with one another. And, at the same time, hopefully being amusing and interesting.

It's very dense writing, for all the fact that it doesn't read that way. (Unlike, for example, a really good section of dense description, laden with meaning.) Part of the reason it works is because it feels so easy to the reader.

Windrunner

/u/Mistborn (Brandon) said that Eshonai will be the flashback character in Book 4. (source), which would indicate that she's probably still alive in some form.

But we'll see. He could've changed it or that could've been a diversion from Venli being the actual flashback character.

Brandon Sanderson

Eshonai is the flashback character--but she is dead in the present. I've warned people multiple times that we WILL have flashbacks to the viewpoints of characters who have died.

Brandon Sanderson

The Origins of Siri and Vivenna

Back around the year 2000 or 2001 I started writing a book called Mythwalker. It was an epic fantasy novel, an attempt to go back to basics in the genre. I'd tried several genre-busting epics (one of which was Elantris) that focused on heroes who weren't quite the standards of the genre. I avoided peasant boys, questing knights, or mysterious wizards. Instead I wrote books about a man thrown into a leper colony, or an evil missionary, or things like that.

I didn't sell any of those books. (At least, not at first.) I was feeling discouraged, so I decided to write a book about a more standard fantasy character. A peasant boy who couldn't do anything right, and who got caught up in something larger than himself and inherited an extremely powerful magic.

It was boring.

I just couldn't write it. I ended up stopping about halfway through—it's the only book of mine that I never finished writing. It sits on my hard drive, not even spellchecked, I think, half finished like a skyscraper whose builder ran out of funds.

One of the great things about Mythwalker, however, was one of the subplots—about a pair of cousins named Siri and Vivenna. They switched places because of a mix-up, and the wrong one ended up marrying the emperor.

My alpha readers really connected with this storyline. After I abandoned the project, I thought about what was successful about that aspect of the novel. In the end, I decided it was just the characters. They worked. This is odd because, in a way, they were archetypes themselves.

The story of the two princesses, along with the peasant/royalty swap, is an age-old fairy tale archetype. This is where I'd drawn the inspiration from for these two cousins. One wasn't trained in the way of the nobility; she was a distant cousin and poor by comparison. The other was heir to her house and very important. I guess the idea of forcing them to switch places struck some very distinct chords in my readers.

Eventually, I decided that I wanted to tell their story, and they became the focus of a budding book in my mind. I made them sisters and got rid of the "accidental switch" plotline. (Originally, one had been sent by mistake, but they looked enough alike that nobody noticed. Siri kept quiet about it for reasons I can't quite remember.) I took a few steps away from the fairy tale origins, but tried to preserve the aspects of their characters and identities that had worked so well with readers.

I'm not sure why using one archetype worked and the other didn't. Maybe it was because the peasant boy story is so overtold in fantasy, and I just didn't feel I could bring anything new to it. (At least not in that novel.) The two princesses concept isn't used nearly as often. Or maybe it was just that with Siri and Vivenna I did what you're supposed to—no matter what your inspiration, if you make the characters live and breathe, they will come alive on the page for the reader. Harry Potter is a very basic fantasy archetype—even a cliché—but those books are wonderful.

You have to do new things. I think that fantasy needs a lot more originality. However, not every aspect of the story needs to be completely new. Blend the familiar and the strange—the new and the archetypal. Sometimes it's best to rely on the work that has come before. Sometimes you need to cast it aside.

I guess one of the big tricks to becoming a published author is learning when to do which.

potentialPizza

Who are your favorite characters in the Cosmere?

Isaac Stewart

Dalinar, Nazh, Khriss, Hoid, [Nicki] Savage, Vin, Kaladin, Vasher, and Baon, exactly in that order. :) But honestly, I love them all. Brandon has created such a wonderful universe of characters, and I pinch myself every day that I get to assist in the workings of these worlds.

Araedox

Even Moash?

Isaac Stewart

Moash has become a great tragic character, in my opinion. Yes, people love to hate him, but that still makes a great character. And it's the tragedy of his choices that pulls the emotions from us.

Questioner

Are there any actors that you would love to see in an adaptation of your work?

Brandon Sanderson

Wow, excellent. Are there any actors I would love to see in an adaptation of my work? Wow, you know, you toy with this in your head, but I usually only do it after I've written the book because-- and then it's kind of hard because I'm like this character is the person in my head, not a specific actor. But we've had to start doing it, where people come when they're making the films and they're like "Who do you see in this role", or something like this. And so I have come up with some of these things. For instance, the guys who have Mistborn keep talking about Sazed, and they kind of want to go Asian with Sazed, which I think would work just fine for the Terris, and they keep using Chow Yun Fat as someone they would look at. Which would be pretty cool. 

Legion I wrote with a few actors in mind, one of the few books I've done that, so if you've read that I actually cast Ivy, JC, and Tobias as three actors I like. You should read it and see if you can figure out who those three are, because I've said online and you can read that and say "I wonder", and then you just google it and they'll all be there. One of them is from Firefly, so-- I'll give you a hint, this character's initials have been the same in like five or six different movies, and they're the same initials I use for the character and the fact that he's playing a character with the same initials, and so I use those initials. But for the most part I don't really think on this too much, because you spend a lot of time thinking about it, like when someone first bought Mistborn I was like "Ooh who do we get to play Vin"? And now all those actors, they're all like ten years older than being able to play Vin now, so it's like what was the point in doing all that. So I'm just going to let something actually get to casting, and then hopefully they'll invite me in and I can give my feedback.

Brandon Sanderson

This chapter introduces a couple of minor characters for Raoden's gang. One thing you'll notice here is the good-natured humor I include in the chapter. (Or, at least, I hope you found it humorous.) I had a real worry that Elantris would be too dark a book, considering the things that Raoden has to go through. That's why Galladon's character is so important. In my mind, Galladon fits the most basic definition of a humorous character–he is a juxtaposition. He is a pessimist from a culture of optimists. He is a foil to Raoden, yet at the same time his comedic pessimism lifts the story and points out just how ridiculous their situations are.

Galladon isn't simply comic relief–I have never used, and never intend to use, a comic-relief character. However, he allows for some farce and some fun-poking, which in turn lightens the air of what could otherwise be a very gloomy book. His relationship with Raoden proves that even in the hellpit of Elantris, things like friendship and trust can exist.

Because I have three separate storylines in this book, I have to move quickly. (Or, at least, quickly for me.) This allowed me to keep up the pacing, and to have a good amount of tension in every chapter. Of the three viewpoints, however, I think Raoden's chapters seem to move the quickest, though Hrathen has the smallest number of pages.

Stevie B Art

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

Brandon Sanderson

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

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

Questioner

I’m a big fan of Jasnah. And I hope you’ll do her justice in the next book. Do you say it “Jasnah” or “Jasnah”? [different pronunciations]

Brandon Sanderson

I say “Jasnah” [soft-J], but you can say it however you want. Remember she’s got a--- she will get a book in the series that has her flashback sequence--

Questioner

Good!

Brandon Sanderson

--but it’s a little ways off.

Questioner

Does she get a [???]?

Brandon Sanderson

She will-- She… You will see a lot more of her, but she is intended to be one of the main characters of the second five Stormlight books. In the first five Stormlight books she’s a supporting character. So we’ll reverse some of the supporting characters and some of the main characters in book 6. Um… So you just gotta to wait until we get some more. But she is on the cover of book 3, so...

Sethel

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

Brandon Sanderson

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

Michael M. Jones

One thing we tend to expect in YA is the presence of romance. There's no real sign of it in Skyward, though. Was this your intention from the start, or did the characters just not work out that way?

Brandon Sanderson

It was more the characters. In my first draft, I tried to shoehorn a romance in. I like romance; you'll find them in my adult books. But here, it didn’t fit the characters or the theme, and it felt inappropriate. This is a very traumatic time for Spensa, who's focused in every way on becoming a pilot and finding out the secrets of her past, and romance just didn't work. So I revised in the direction the characters demanded.

The obvious pairing was Spensa and Jerkface. That’s where I was trying to go, but it felt like a cheesy romance in the middle of an action-adventure story about finding out who you really are, and about going into battle, and all of that stress and pressure. Maybe someday I'll release the deleted scenes and people can see how poorly it worked.

Questioner

With all the characters that you design-- And what you just about putting a character in and spinning a story around them. Are there any that you keep on a backlog to try and mix to see if--

Brandon Sanderson

Oh yeah, good question. Are there any characters that I keep on the back burner that I'm like "Eventually I'll find a place for this character they haven't worked yet". Totally. What I have is this notes file, it's literally called "cool stuff that I need to use sometime" *laughter* and it's like when I see something in news or I see some-- I meet a person and I'm like "I'm going to use that someday" and it can be years before I end up sticking them in. One of the-- Let's see if I can remember, there was a cool example of this actually, from one of my book. Oh I'm trying to remember what it was that I eventually managed to stick this into a book it was years later. But it happens all the time, I'll try to think of it. When you come through the line ask me and I'll try to remember it.

Questioner

Kaladin is one of my favorite characters, and I noticed he's a really good leader, but he also does have his very hard moments. And I was wondering, what inspired you to make such a strong character that is allowed to cry and be weak?

Brandon Sanderson

That is partially my philosophy on writing coming out. And is partially me noticing some things about characters in books that I felt hadn't been covered very well. Certain styles of characters had not been done as much, and I wanted to explore that direction. I take a lot of inspiration from my wife for Kaladin, actually, who has depression.

Brandon Sanderson

Interestingly, one of the noblemen most important to the plot didn't appear very often in the original draft. Telrii was a much more minor character in the first versions of the book. As you'll see later, however, he has an important role to play.

Some of you who read the very early drafts of the book might remember the Mad Prince. This is a character my agent successfully convinced me to cut–I'll talk about it more later on. However, the need for beefing up Telrii's character came from the loss of the Mad Prince. Telrii now does most of what Eton used to do.

So, this addition of Telrii in the party scene was one of the more later revisions to the book. He showed up in draft eight or nine, and I'm glad to have him. He finally has a character–in the first drafts of the book, he was a non-entity. Spoken of occasionally, but really only in the book to show how much money Hrathen was willing to spend on overthrowing Arelon.

Eric Culver

How do you feel about fans naming their kids after your characters? My wife knows two people with kids named Kaladin?

Brandon Sanderson

I find it a mark of great respect and honor that people are naming kids after my characters. It also means that, maybe, some of my names aren't terrible. My very first book, Elantris, when I published it. Elantris was the book where I kind of went out there with my linguistics. And several of the reviewers noticed. They were like, "These names are just so hard to say and so weird. Sanderson needs to calm down on the naming!" So, when people name their kids after characters then I'm like, "Oh, good. At least they're not so weird that people won't name their kids after them."

It's really cool. I remember when I met my first Rand, my first Perrin, which both happened before I was working on The Wheel of Time. It's always been really cool to me. I like it. I like meeting Arwens. I wish that fantasy names were a little more frequent in our society. I think that they're very cool.

So, it's awesome. I will try to live up to the respect you have shown me by naming children after my characters.

Questioner

When can we expect Elantris 2?

Brandon Sanderson

So, Elantris 2... Elantris 2 has to be done by the time I do Era 3 of Mistborn, which is the contemporary era. There are certain things that have to be in there before I can finish that series. So, right now - what it's looking like - I will finish Stormlight 4, I will do Wax and Wayne [4] and Skyward and then I'll do Stormlight 5. *applause* And then, what I'll probably do is, I'll try to - this is not a promise - but this is what my goal will be because Mistborn and Elantris books are about each half the size of a Stormlight book, I can probably do one a year, where Stormlight takes me about one every three years. So the goal will be to go, Mistborn Era 3 book 1, then Elantris 2, then book 2 of Era 3, then Elantris 3, then book 3 of Era 3.

Questioner

So it will be a trilogy, right?

Brandon Sanderson

Elantris? Yeah. But the trilogy of Elantris is not the same. It's the story of the world more than just the story of characters, so you'll find about the characters and things, but don't expect... Sarene and Raoden will not be the main characters of Elantris 2. There will be a time jump. Elantris 2 is probably Kiin's children who I've seeded to be main characters for the sequel and book 3 will probably be somebody else, right? So, keep in mind that that's how the Elantris books are intended to go.

Brandon Sanderson

Yalb the Sailor

This chapter is Yalb's time to shine. One of the things I love about The Wheel of Time is Robert Jordan's use of side characters who sometimes pop in, steal the show, then vanish. I love how they show up now and then in the text.

I'm not sure I can do the same thing here. Robert Jordan had worldbuilding reasons why small characters would get tied to the main characters and keep appearing in their lives again and again. I don't have those reasons.

Still, writing Yalb, I wanted him to really pop off the page even though he's only in the book for a few pages in these early scenes. I intend for him to return. In another type of story, he'd be one of the main characters.

Brandon Sanderson

So, I'm entering a portion of my current book [Mistborn] where I have to devise a lot of names. Anyone want a Cameo? I could throw in something close to your name, or perhaps a version of one of your usernames, if you wish. Firstcomers get speaking parts.

Brandon Sanderson

Well, Lord Rian Strobe just got added to the book. He's even got a line! (He asks a young lady to dance.)

Brandon Sanderson

OutKast: Elariel is a good fantasy name--won't have any problems with that.

Tekiel: Can probably use that one straight-up, if you want.

Brandon Sanderson

Okay, 'House Erikeller' just got mentioned as one of the major noble houses in the book. They probably won't have a big part, but they are weapons merchants, which I thought you might appreciate.

Gemm, I didn't so much as give you a character as base an entire cultural dialect off of your language patterns. They're a bunch of underground street punks who like to speak in a slang that (intentionally) confuses everyone else. There is a character in the book from that culture, though he's a few years younger than you.

Brandon Sanderson

Well, House Elariel and the Lady Stace Whiten just got cameos. House Elariel throws a party that some characters attend; Lady Whiten is a young woman that is supposedly one of characters' dates, but he ditches her. (Sorry. He's kind of like that.)

Brandon Sanderson

Okay, busy night.

First off, House Tekiel showed up in the book. In connection with that, I managed to work in House Geffenry and House Izenry.

My favorite for the night, however, is the appearance of Lord Charleir Entrone. He shows up only as a corpse, having been stabbed in the back while in a drunken stupor, but he has a reputation of being a twisted connoisseur of underground bloodfight gambling.

Questioner

Do you have a special way of coming up with your bad analogies?

Brandon Sanderson

Do I special way of coming up with bad analogies. Which are actually similes. So here's the thing-- So Steelheart, I wrote Steelheart in like 2008 or 2009, it was pretty early on, I had the idea-- I was touring for some book, I think-- I feel like it was Warbreaker or Mistborn 3, any way I was touring for one of these books and I get cut off in traffic, I get really mad at the person, and I imagine blowing up their car. I get horrified, like "If I had superpowers is this what I would do? Would I blow up cars of people who cut me off in traffic?" and I was like "OOh that's a story". So I went and wrote the prologue, like almost immediately, I think on that tour I wrote the prologue. I remember reading it at DragonCon that year, whenever year that was.

Then I put the whole book aside and had to wait for like 5 years because I'm like "I'm working on The Wheel of Time I have no time to write this other side project." I was much better at that and not going crazy on side projects when I was doing that. When I finally got back to it I had this prologue-- The prologue was ten years before in-world time, like the character grew ten years between the prologue and chapter 1, so I was "Alright I need a voice for this character" and I started writing, doing my standard thing. I was having so much trouble coming up with a distinctive voice for David, the main character, and I accidentally wrote a bad metaphor. That happens a lot when you're writing-- you just come across something and it's a terrible analogy and you delete it, but here I said "Well what if I ran with that?" The fun thing is by coincidence that became a metaphor for his entire personality. He tries so hard, is very earnest, but sometimes he tries a little too hard, and looks beyond the mark, and stumbles a bit. And that is who he became as a character, and the bad metaphors are a great metaphor for that.

Coming up with them now is really hard. Doing it on purpose is way harder than coming up with good metaphors. They are rough. Sometimes I'll sit-- Like the most time I spend staring at the screen when working on these books is coming up with one of David's metaphors.

Anushia Kandasivam

We have a lot of different characters in your books. There are, of course, misogynistic characters in your books, and there are storylines that feature violence against women. But generally, the male/female relationships between the main characters are quite equitable. The heroes are respectful of women in their plots and decisions. But oftentimes, the line between consent and coercion in fantasy isn't always clear. Whether it's epic fantasy, urban fantasy, paranormal romance. Do you think this is an issue that writers in the genre have started tackling successfully in recent years?

Brandon Sanderson

Yes. I do think... This is an issue, at least in my culture, American media culture, that stretches back pretty far. We showed my kids the original Star Wars movies, which I still love. But Empire Strikes Back, you talk about a line between consent and non-consent, and there's a scene where Han Solo backs Leia into a corner and tells her that she wants him, when she says she doesn't. And it's really uncomfortable to watch in the current climate and realization that our entire society has emphasized a certain sense of masculinity through our media for many, many years. And it's not something that I would have ever noticed if people hadn't started pointing out, "Hey, there's a problem here."

And I do think people are doing a better job with it. I think we, as a culture, though, bear quite a burden for the way that we have glorified this kind of behavior, even in some of our best and most beloved media properties. And this goes back to my philosophy, though, that we try to do better. We don't-- Pointing backward and vilifying the creators of Empire Strikes Back because they were part of it is not my goal. My goal is for us to say, "Hey, we can do better than this. We should do better than this.

And I guess one of my pet peeves, as a side topic to this, is that showing good relationships between people in committed relationships is just not a thing that media is good at, because media wants to have conflict. And conflict is story. But because of that, what we end up with is a whole lot of really dysfunctional relationships being held, and it's hard. Like, when I sat down to write Stormlight Archive, I wanted to write a misogynistic and racist culture that you didn't hate, but that at the same time, you're like, "Yeah, you know,it is." And how do you do that without setting it as a standard? You want to approach it and say, "Look, this is-- through a lot of history and a lot of cultures, cultures that human beings have created have been pretty misogynistic."

So, how do you write a fantasy book that doesn't glorify this, but still says, "This is how cultures often are"? And there's a really fine line to walk there. And one of the things I think we, as a culture, need to do is, we need to get better about distinguishing between, "Hey, this is how this character is, and this is how people should be." And I'm not sure if I have the answers on that, at all. But one of the things I do like to do is to show, people can be in relationships that have some conflict, but still who genuinely love each other, and genuinely do work their problems out like rational human beings do in the real world. And you can still have conflict and a great fantasy story with people whose relationships are functional.

Sandi

A common thread in both Warbreaker and the Mistborn Trilogy is religion. I really liked how you handled religion in both these books. Mistborn deals with religious searching and Warbreaker is more about religious tolerance. I've heard that you are a Mormon. How much does your faith influence your writing?

Brandon Sanderson

This is a surprisingly common question for people to ask me, and I'm always happy to answer it because my religion makes up a big part of who I am. Because I am religious myself, I am fascinated by religion. And so I think that the misuse of religion is a great evil, and the use of religion for good reasons is a great good. In fact, being a religious person, I think that the misuse of religion becomes a much more frightening thing than it might otherwise be, which is why you sometimes see religions as villains in my books. My religion shapes who I am, and it makes me interested in certain things; it makes me fascinated by certain things; it shapes my sense of right and wrong.

But I don't actually sit down and write books wanting to advocate any particular concept. I feel that when I write books I need to advocate whatever the character believes at the time. Now, what I feel is heroic may shape the characters I create as protagonists, but I don't think that the purpose of the fiction that I write is to preach directly to the reader. I think that the purpose of the fiction I write is to explore different concepts and different types of characters and see how they react to the world around them. And that's a very different thing than sitting down and saying I'm going to preach to people. So I don't think my religion causes me to do that, but I do think it causes me to be interested in these kinds of concepts.

I'm not even sure how to define myself. In some circles I come across as very conservative; in other circles I come across as very liberal. One of my core beliefs religiously is that I honestly don't mind you believing whatever you want to believe. What I mind is how you treat people who don't believe as you believe. That's what will get me going. So I don't judge someone based on their belief; I do judge them based on how they treat people who believe differently than they do. (That's a concept, by the way, that you may see pop up in a book later on, because I'm actually quoting one of my characters in this case.)

Questioner

Can we expect a Cosmere Avengers?

Brandon Sanderson

Yes and no. You can expect crossovers between the planets. My goal is not an Avengers-style, one character that you... like, if it were a true Cosmere Avengers it would be like, "Oh, we're going to have this character from this series, this character from this series," that's not what I'm going for. I'm going for more of a clash between the cultures and worlds. There will definitely be characters that you know that end up involved in that. But it's not, I'm not shooting for an Avengers-style thing, I'm shooting for more... It's more like imagine Star Trek, and retrograde back to all of the stories you're telling on the separate planets before they meet each other. Less Avengers, more "We're going to have an intergalactic... thing, going on." These are all of the origins of the cultures and peoples that are going to be involved in that. And since there are some immortals around, you will see people.

Questioner

You know the artwork... the arches with the faces? What are those?

Brandon Sanderson

Those are each of the Heralds. And those archways, Isaac picks based on what he thinks the themes of the chapter are. I don't pick which faces go on there. He reads the chapter... he tries to align what's happening with the emotions represented by the various characters. 

Questioner

And the thing underneath it is?

Brandon Sanderson

Generally the symbol of the viewpoint character. But those shift. Like for instance we sometimes start with a general one, and as the characters get more individual we add ones specifically for them. Usually you'll have one that's the viewpoint character, and then like for instance the ones for Jasnah and Shallan split apart when originally they just had one, and stuff like that.

Mad Hatter

Did you move a lot of sections around during the development? It certainly seemed as though Kal's parts could go in a different order or start his story from the bottom and work out how he got there.

Brandon Sanderson

Yes, I did move things around a lot, particularly between the first draft of this book in 2003 and this draft. Things have jumped around all over the place, and even at the last minute I was moving different things between parts. Dalinar moved around more than Kaladin did because I was trying to decide where I wanted his ending in part two to happen. I wanted each of the parts to have its own climactic sense, to have a good ending particularly for the characters who didn't continue in the next part, when Dalinar and Shallan were alternating. So there was a lot of juggling and trying to decide—for instance, the prelude was added very late in the process. I'd had the prologue and decided I needed a second prologue as the prologue to the series, which is where the prelude came from.

Kaladin's entire sequence, with the flashbacks and things, was decided on early on, but remember I'd written this book once before. At the end of his flashback sequences, he makes a decision. Where this book deviates from the original I wrote in 2003 is that in the old version he actually made the opposite decision, and it happened in chapter one.

Now we get to see flashbacks of him making the other decision, which works so much better. It's one of those things where I was beating my head against the wall for years trying to figure out how to make his character work. His character was the part of the original The Way of Kings Prime that had not worked, and it took me years to figure out how to make his character work right. That one decision of his was the turning point.

Questioner 1

When I'm writing, I noticed that all my characters, they start out different, but they just become the same.

Brandon Sanderson

They blend together? That's okay, that happens. That's one of the easier things to fix in revisions, is to do a revision just focused on making sure their voices... The big thing you don't want to have happen, particularly in the first draft, is that you lose their motivations. If their voices start to blend together, you can fix that. But if their motivations start to become muddled, it's a lot harder to fix in post. So, make sure you're laying down their motivations and getting their plots right, make sure that what they do is motivated by who they are. You can tweak voice. Voice is really easy to rewrite a sentence, so it feels like it's in voice. But you do wanna do that in revision. You do wanna practice and learn how to do that. I wouldn't stress it too much. I have the same sort of problem.

Questioner 2

How do you get good motivation for a character? Because I feel like that ends up, really, kind of terrible in...

Brandon Sanderson

Motivation is the easiest place to go wrong with a character. And if it's strong, readers will forgive a whole host of other ills. And it's not as hard as it sounds. Make sure what the characters are doing comes from who they are, not from what the plot wants them to do.  Make sure it comes from a place, like... And sometimes, that may mean revising the plot. Or sometimes it means you just have to establish it more clearly. And I can't tell you which problem is without reading the book. But that is my suggestion. Make sure the choices they're making come from who they are, rather than what the plot wants them to do.

Jared_A

Brandon, how do you feel your identity and upbringing as a Mormon has affected your work?

Elantris, for instance, centers around a magic system that has essentially been broken because something in the world has changed—a "new revelation" if you will. And then Mistborn has at its core a set of holy writings that have been altered by an evil force.

These things seem decidely Mormon to me, or at least informed from a Mormon perspective. Do you feel that is the case?

Brandon Sanderson

I don't set out to put anything specifically Mormon into my books, but who I am definitely influences what I write and how I write it. I'm always curious at the things people dig out of my writing—neither of the two points you mention above are things that I was conscious of, though they certainly do make interesting points now that you look at them.

My goal in storytelling is first and foremost to be true to the characters—their passions, beliefs, and goals. No matter what those are. I'm not trying to make a point consciously ever in my writing—though I do think that good stories should raise questions and make readers think.

Who I am as a person heavily influences what I write, and I draw from everything I can find—whether it be LDS, Buddhist, Islamic, or Atheist. It's all jumbled up there in that head of mine, and comes out in different characters who are seeking different things.

In other words, I'm not setting out to be like C.S. Lewis and write parables of belief. I'm trying more what Tolkien did (not, of course, meaning to compare myself favorably with the master) in that I tell story and setting first, and let theme and meaning take care of itself.

Fiction doesn't really exist—certainly doesn't have power—until it is read. You create the story in your head when you read it, and so your interpretations (and your pronunciations on the names) are completely valid in your telling of the story. The things you come up with may be things I noticed and did intentionally, they may be subconscious additions on my part, or they may simply be a result of your interaction with the text. But all three are valid.

Jared_A

On a different but related note, I really love that you honestly look at religious convictions in your books and that you don't portray such convictions in a shallow way.

Brandon Sanderson

Regardless of a person's beliefs, I think they would have to admit that religion and spirituality has played a large part in our development as a people. It's a very important thing to so many of us—and I also think that for most of us, our beliefs are nowhere near as simple as they seem when viewed from the outside. I appreciate your praise here, though I think I still have a lot to learn. There's a real line to walk in expressing a character's religious views without letting them sound preachy—the goal is to make the character real, but not bore the reader.

Argent

In English, "N" is articulated the same way "T" and "D" are - on the alveolar ridge (as all three are nasal alveolar). It seems like in the women's script "N" belongs to a different family from "T" and "D". The former is a "left facing arrow" while the latter two are "right facing arrows", to use some very basic description of the symbol shapes. Why is that?

Isaac Stewart

Peter might have a better explanation for this, but because of the three sizes, we had to group things in ways that didn't always make sense. The N was a fourth letter in a set (TDL), so looking back, maybe we should've grouped N with TD instead of the L, but then that has a cascading effect, so this was the best we could do in the time we had. But we don't know exactly how the Alethi speak. There's always a chance that the Alethi Z sounds more like "dz," and the Alethi "S" sounds more like "ts" (like the German Z), in which case the SZN grouping makes a lot more sense. But that's just conjecture.

Peter Ahlstrom

The symbol sets are all based on historical place of articulation (and articulating tongue part), and there have been some sound changes over the centuries so they don't currently all line up exactly. The t/d/r/th/l group (historically alveolar) is articulated with the tip of the tongue, and the s/z/n/sh/h group (historically postalveolar) is/was articulated with the blade of the tongue.

The modern h sound (like h in English) used to appear only in the palindromic locations, and was written only with the diacritic. This diacritic is mirrored on the top and bottom of the character. Some writers may use only the top or bottom because lazy. Also, sometimes the diacritic can be left out entirely and people just know to pronounce it as h because it's a very common word or name.

The h character used to stand for a weakly-voiced postalveolar non-sibilant fricative. This later shifted backward to a velar fricative (first weakly-voiced, later voiceless) as in Kholin. In modern times the h character is usually for the same h sound that we have in English. Sometimes kh is written using a combination of the k and h characters, and sometimes it's written just as h for historical reasons. Different regional dialects also shift the pronunciation one way or another.

The L sound has also shifted. It used to be a voiced alveolar lateral fricative, and this is still seen in names like Lhan. It's now a regular L sound.

The final group, k/g/y/ch/j, used to have dual articulation, similar to velarized postalveolar. Now the articulation has separated, with some velar and some postalveolar.

Currently y and j are pronounced the same or differently based on class and regional dialect. So, a darkeyes name like Jost or Jest will be pronounced with a regular j sound, while with the upper class it has merged with y so that Jasnah and Jezerezeh are pronounced with a y sound. Historically they were always separate sounds.

Brandon Sanderson

They Discuss Religion

In my books, one of the things I prefer to do is have characters who voice opinions opposite to my own. I figure that my own feelings and beliefs will work themselves naturally into the text, and so there are probably a disproportionate number of characters in my books who see the world as I do. So, any time that I can add a strong character with beliefs that oppose mine, I feel that it gives the novel more credibility.

In this case, I think Tindwyl has a very strong argument against religion, particularly considering the world in which she lives. Prophecies—the staple of fantasy literature—are silly, if you really look at them. What's the point? I like that she offers some strong arguments against religion in this section because it not only fits her character, but gives context to what she and Sazed are doing.

Both Tindwyl and Sazed, by the way, use the same speech patterns. Kwaan does too, as did the Lord Ruler and Alendi. It's very subtle, but it's there—in my mind, at least. In this series, you can tell who is Terris by looking at the way they construct their sentences.

Glorious_Infidel

The part of Mistborn Era 1 that I absolutely loved was how the flower drawing made its way among characters, eventually allowing the Hero to place them on Scadrial again. How early was that little plot piece put into the outline? Did the idea for it come from somewhere in particular that you remember? Little details like this are what make me love your work and I just want to get an idea of where they came from.

Brandon Sanderson

The flower plot started as a way to characterize Kelsier. As I've talked about before, I generally start an outline, then write my way into characters with some actual chapters, then go back and finish the outline with these characters in mind.

I knew I needed a way, after writing a few chapters of the book, to indicate to readers who might have missed it that this world has some strange ecology. Providing the picture of a flower, and talking about how strange it was to them (and the legends of it) became a method of showing this, but also showing Kelsier's feelings about Mare. Once I had it written into the book, I planned for it to show up other places, as a kind of visual reminder of what the characters were fighting for. (Even if the reader didn't quite understand how far it would go.)

socool111

I do have a quick question about Lift.

She is my favorite character (which is in by no means a sleight against your other AMAZING characters, I just love her dialogue and outlook on the world). I know you have intentions of giving her more space in the archive, but will any of it be in book 3.

Brandon Sanderson

She will appear in Book Three, but the real place for her is starting in Book Six. That's why I wanted to do a novella about her now. I might do more.

Lift is the sort of dangerous character that can cause epic fantasy series to spin off on tangents. She's fun, and I know she's relevant later--but if I start giving her big chunks now, it will distract from the important stories of the characters in these books, and might also play Lift's story out too early.

I think you'll enjoy Edgedancer, though.

Questioner

When you're writing maps for grand scale things like atlas style maps, they're presumably fairly straightforward because you rarely would say, "This character is moving north." You would say, "This character is moving toward the town." When you're writing (or rather when Isaac is drawing) town maps, you often presumably would say, "This character is going to dart left, down an alley." Do you wind up having to path out where a character would go in order to make the map at least somewhat accurate?

Isaac Stewart

I do keep this in mind when I'm reading the books, and I'll write it down. If something doesn't quite work I'll tell Brandon about it. There's a bit of what we call handwavium on that, with the city blocks. I'll put enough city blocks in there that-- Sometimes it doesn't matter because it will work out, if that makes any sense. But we did, on this map right here, the map of Kholinar-- Down at the bottom we have a map of one of the levels of the palace in Kholinar and we did have to do a lot of reading and going back to-- Our continuity editor, Karen, went back and found every instance of where people were at in the palace in the previous two books and then we used that to draw out this map. So we did have to make sure that left was left and right was right on this particular one.

Questioner

After people die, in this universe, where exactly do they go? Because, at first they appear in this one world, and then they go somewhere else.

Brandon Sanderson

So where do people go when they die. *laughter* In the cosmere. One of the things that's very important to me as a writer, when I am writing stories, is when we get to these kind of fundamental questions about faith and religion and things like this, that the narrative is allowing multiple characters' viewpoints to be plausibly true, if this makes sense. For instance, I am not gonna come out and say, "Is there a capital-G God of the cosmere, is there an afterlife?" These are not questions I'm gonna answer, because in-world, they can't answer them. What they can say is, your Investiture will leave what we call a Cognitive Shadow, which is an imprint of your personality that can do certain things. And that most of those fade away, and you can see them, glimpse them, and then watch them go. But, are they going somewhere? Or are they not? Is that simply the Investiture being reclaimed, Is it more of a Buddhist thought, where your soul is getting recycled and used again? Is it nothing, you return to, you know, being-- yeah, is it a different type of matter? Or is there a Beyond, is there a capital-G God? Things like this. These questions are not answered. I'm never gonna answer those.

Now, the characters will try to answer them. But it's important to me that both Dalinar and Jasnah can exist in the same universe, and that the story is not saying "This one is right, and this one is wrong." The story is saying "This is how this one sees the world; this is how this one sees the world." It's very important to me from the beginning to do that, just because-- Like, I hate reading a book where someone espouses my viewpoint only to get proven wrong by the entire structure of the narrative, and in that universe, that person is wrong. But I'm like, "In our universe, I don't think that I am. Just the way you constructed everything makes it so that I have to be wrong, if I were living in your universe, even if it's a universe that's not a sci-fi/fantasy one." If that makes sense.

This is just kind of for respecting my characters and for the people who hold the viewpoints of my characters, in particular if they happen to be different from my own viewpoints. I feel there are certain lines I'm not gonna cross.

So, the answer is: who do you believe? Which of the philosophies in the books do you look at and say "Yeah!" Or, even better: listen to lots of different ones, and maybe these different viewpoints are all gonna have interesting points that'll give you things to think upon.

Brandon Sanderson

Chapter Twelve

This is the last we'll see of Rock in the book, I'm afraid. I really hope to be able to do the Rock novella sometime in the next few years to trace his course, but one of the things I forced myself to do in this series is keep the focus on the main storylines and characters.

Epic fantasy tends to involve ballooning casts, and this tends to derail books as the author lets their focus move away from the primary storyline toward side characters. I put some rigid requirements on myself when I started Stormlight that require me to move side stories out of the main narrative. It's odd to be talking about trying to keep books this length "lean" but I believe one of the strengths of the series is that it has (so far) kept its eye on the proverbial goal. This is more important than ever, with book five being the end of the first sequence.

That said, what we're witnessing here is kind of the end of Bridge Four as a cohesive entity, at least as it existed in the series up until now. I was sad, for all the fun of this chapter, to be moving into this sequence of the stories. There was a temptation, of course, to just let Bridge Four continue to be Bridge Four--but it wouldn't feel right. Lives change and evolve. My tight-knit friend group from college can never be the same again, not now that we all have families and jobs. Bridge Four couldn't remain the same either.

One of my problems with some forms of media like extended network television shows is the format's inability to let the status of the characters evolve, change, and grow. For a series like this, we need progression, and we need to let Bridge Four become something else. If we're sad about the changes, the early books will always be there to experience again.

As for the Kaladn/Adolin/Shallan interactions, I actively look for moments like these to put into the novels. It's important to let the characters live, and one of the reasons I enjoy epic fantasy is that it (with the space afforded me) allows for more time like this.

Brandon Sanderson

Aonic

In the initial stages of Elantris‘ development, Aonic was one of the more difficult elements to construct. The Aons themselves—then still unnamed—were to become a major part of the novel. I wanted all of the Aonic names—including the names of two POV characters—to include references to the language. In addition, the magic system had complex connections with the Aons, influencing their actual forms and design. Furthermore, one of the greatest puzzles in the novel—that of Elantris‘ mysterious fall—was intimately tied to the power and shape of the Aons.

I began looking for sounds and themes. Usually, when I construct a language, I try to develop something with a few basic sound patterns that are easily recognizable. When a reader runs across a name in the book, I want them to be able to instantly determine which country that name came from. However, the names can’t be too similar, otherwise they will become a jumbled mess in the reader’s mind.

So I started, as I often do, with a couple of names. The first one I devised, I believe, was Raoden. The sound “Rao” (both vowels are pronounced in their long form) struck me. One of the things I wanted from Aonic was resonance with ancient classicism. I wanted the reader to reference a culture with a great, majestic history. Golden age Greece or imperial Rome—lands were gods were very real, and were thought to interfere with the workings of mortals. To the modern mind, these cultures bear a weight of age.

Rao. (Pronounced Ray-Oh). I liked the repeated long vowel sounds—they seemed to bear the weight I wanted. From there, I constructed other morphemes. Ene. Ashe. Dio. I started combining these, constructing a language that references modern Japanese with its combination of a natural tongue and imported Chinese characters.

The result was the Aonic language. Each name or word contained an Aon—a two-syllable morpheme that contained two log vowel sounds—and a non-Aon prefix or suffix. Raoden, for instance, contains the Aon ‘Rao’ with the non-Aon suffix ‘den.’ Seon contained the Aon ‘Seo’ with the suffix ‘n.’ The accent in these words is always placed on the Aon.

Then, like any good modern language, I was forced to bend a few rules. The name of the city was very important to the book, as I intended it to be in the title. I played around with several different words, including one that stayed through the entire rough draft of the novel—a word based on the Aon ‘Ado.’

In the end, however, I grew very partial to the word ‘Elantris.’ Again, this was for connotative reasons. It brought to mind ancient cultures without actually being too similar to any names I knew. The word seemed to have mythic import. Unfortunately, it didn’t contain an Aon. In the end, I went with it anyway. Any good language has sound-changes and broken rules. Elantris, therefore, is based off of the Aon ‘Ela,’ which is a very Aonic sound. When combined with its suffix, however, the secondary vowel is weakened—though not completely. When I say the word in my head, the ‘a’ sound is stronger than it probably is to most readers.

The second bent rule references Sarene’s name. Originally, her Aon was ‘Ana,’ with two long ‘a’ sounds. Unfortunately, ana looked too similar to the word ‘anal’ to me. Eventually, I changed her from Sarana to Sarene. Still, in my head, I pronounce this word ‘Sar-Aynay,’ though the Aonic usage of the name would be more appropriately rendered ‘Sar-eenee.’

With the Aonic language finished, I could easily fill in the names of side-characters and places. I threw out a few sounds—there is no ‘u’ sound or ‘th’ sound in Aonic—and from there could construct hundreds of names from Aonic combinations of sounds. I designed a few of the characters for referencing in the book, and the language grew from there.

Questioner

As a writer, I tend to be more character-driven. I love what you've done with the character development of the two of these guys throughout the series. How much of them growing throughout the series, as you work on everything else, it comes together?

Brandon Sanderson

You know, characters I don't plot out as much. It's very easy to write them being cardboard. So, I try to let it be an outgrowth of what they're passionate about. Just kind of letting the passions of the characters drive their reactions in the narrative, and I think you'll never go wrong with that.

Sensitivemuse

Also, was there an inspiration for Vin and if so who/what was it?

Brandon Sanderson

Vin has been hard for me to pin down, inspiration wise. I tried so many different variations on her character (even writing her character as a boy) that it's hard to pinpoint when I got it right. There was no one single inspiration for her. (Unlike Sarene, who was based on a friend of mine.) She's a mix of my sisters, a good writer friend of mine, and a dozen different other little bits of people.

The time when I got her character RIGHT was when I wrote the scene that became her first in Mistborn, where she's watching the ash blow in the street, and envies it for its freedom. That, mixed with Kelsier's observation that she isn't a bad person—she just thinks everyone else is—were the big points where her character took form.

Brandon Sanderson

Speaking of Raoden's honor and truth, I'd like to note something about assassination and killing in this book. As I've stated in earlier annotations, I wanted this book's conflict to be non-violence focused. I think that the characters in this book, therefore, represent a more mature philosophy regarding social problems–a philosophy that could only exist among a people who have spent so much of their lives not having to deal with death and war. A people who have a valid reason for seeing things more like people in a contemporary culture.

As my friend Alan likes to say, however, "Violence may not always be the best answer–but it's usually AN answer." Conflict and social commentary should be based on the characters and their beliefs, rather than forced expressions of the author's message. That doesn't mean that I don't let my personal views shade my writing–I think that level of self-removal would be impossible. However, I do think that the themes expressed in a book need to be reflective of the characters.

I like that I was able to write a novel where the characters came to the conclusion that they'd rather find a way to stop their opponents without resorting to hiring assassins. This, I think, is a noble way of viewing the world. However, the realist in me says that most people–and most situations–won't be so open to this kind of decision. It says something that after working so long on Elantris, I promptly went and made my next heroine (the one from Mistborn) an assassin herself. In her world, life is far more brutal–and these sorts of philosophical problems aren't as difficult to deal with. There, there is too much riding on the protagonists for them to worry about their methods. I think they're still good people. They just have a slightly different philosophy.

Michael M. Jones

What was your inspiration for Skyward?

Brandon Sanderson

Ever since I was young, I’ve loved the quintessential "boy and his dragon story." My favorite is Jane Yolen’s Dragon’s Blood. It was one of the very first fantasy books I ever read, and it left a lasting impression on me. But there was also Anne McCaffrey’s The White Dragon, Christopher Paolini’s Eragon, and the How to Train Your Dragon film series. I love this archetype of story, and I’ve always wanted to do one, but I held off until I could find a new direction in which to approach it. Eventually, it drifted away from "a boy and his dragon" towards "a girl and her spaceship."

About four years ago, I hit on this idea, but I only had the framework. I still needed setting, characters, things that would really make me excited about the entire story. As a writer, it’s always about digging down deep into what I love about certain stories—what are the essential elements, what are the concepts that thrill me, and can I build those back up into something new? The more I built this back up, the more excited I became.

For most things, like worldbuilding and plots, I do outlines. But characters develop by instinct, as their voices emerge. The character of Spensa came to me almost fully formed. I was intrigued and enthralled by the idea of this girl who had been raised on stories from our world, the myths and legends, even ones we know are fiction like Conan the Barbarian. She sees herself as the latest in a long line of warriors, except her actual job is hunting rats and selling them for meat on the street. She has this idea of who she should be, what her destiny is, but in real life she’s just barely getting by. Characters come out of conflict, and hers is the contrast between what her life is like and what she thinks it should be, the difference between perception and experience.

Questioner

When writing, how do you work out space versus time?

Brandon Sanderson

Space versus time, what do you mean?

Questioner

So I guess distance versus time. So like, you have your math and you're writing, is it more just kind of feel how the story goes, or is it "I know this amount of space is going to take the characters four months--"

Brandon Sanderson

Oh I see what you're saying. Ok, so how do you work with, when you've got traveling characters, working out how much time things are going to take, traveling and things like this in the book, it actually really depends on the plot archetype of the book. If the book is what we call a travelogue, which is about traveling places, exploring new locations, it's kind of got that adventuresome, exploration feel to it, then the destinations you go to are the main part of the plot. For most of the books I'm writing, I don't do travelogues very often. I've done a few but not very often. So for me, that stuff in the middle is the boring stuff, and I skip it. You'll see in my books, they start in one chapter and they're like "well, we've gotta get here", and the next chapter they're like "wow, that was a ride" and then were there, and that's because the plot archetype I'm working on is usually different than that. So you've gotta kind of understand what you're writing.

One of the big things to figure out about your story, either discovering it as you write or planning it, however you do it, is why are people turning the pages, what are the promises I'm fulfilling, what is the thing that they're going to read that book to get. It can be multiple things, but if that exploration's part of it, they don't want to miss that journey. I remember reading a book once, and this is kind of an example of why this is so important, and I'm not going to name who it is because he's a very good writer. But there's one of his books where he stops, takes a break, comes back to the characters a few years later, like in the middle of the story, and you've missed the main character falling in love and getting married and this stuff. And I was like "No!", because the book is a coming-of-age book, and so the coming-of-age book skipping falling in love really felt like a betrayal of my trust as the reader. There are other books I've read where you can skip that, and it's okay, does that makes sense? Because the book is not about that, it can be about something else. So make sure you're not skipping the stuff that people want to read. Make sure you skip the other stuff though.