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Did Odium Splinter all the Shards for the same reason?
No. Some Shards he Splintered because he feared the Shard itself, and some Shards he targeted because he feared the Vessel. He was working his way down his list in order of the Shards and Vessels he felt would be most dangerous to his plans until he got stuck on Roshar.
Was Roshar equally Invested by Cultivation and Honor originally?
Yes.
How 'bout now, since he's been--
So the Investiture is all still there... It is not all accessible. So, at this point, you might say-- I'd say it's a point of disputation. It would be worth arguing either way. I will say at this point, no, it's not equal anymore. But definitions of where the power is and what it counts as is ambiguous.
So Cultivation has more active Investiture?
Yes, I would say yes... Well, but she's been very coy. I'm gonna leave it at that.
Rayse went after Dalinar and then Kaladin for his champion, strong fighters who would have dealt a massive emotional blow, how likely is Taravangian to use the same approach?
RAFO
One of the Letters in Oathbringer suggests that the Shards had a pact to all go their separate ways. And some of them held to it and some of them didn't?
Yes.
Out of all of them, how is it possible that one of the ones that didn't is the one whose nature is to obsessively keep your word at all costs?
He would argue that he kept his word.
Okay, so loophole.
He wouldn't even call it a loophole.
Could Sazed take down Rayse since he has two shards?
Rayse is VERY scared of Sazed. However, given Sazed is a composite of two diametrically opposed shards, he finds it very difficult to act.
Have we met any of the champions in The Stormlight Archive yet?
Have you met any of the champions in The Stormlight Archive yet. Yee-- You have-- Um, I'm not going to answer that one.
If Gavilar was still alive, would he most likely have aligned himself to or taken actions most similar to Dalinar, Amaram or Taravangian? In other words, which of the three is best acting out his will?
I can say he would align with one of them most certainly, but I want to RAFO this for now. (Though I might have made it clear elsewhere and not be remembering.)
Can all Shards have champions?
This is a, um, Theoretically possible, but you will find more about the backstory of why this works here.
...On the subject of change, the Tenth Name of the Almighty, Elithanathile, He Who Transforms. Is this related to the fact that Akinah is divided into ten parts, and the things you find there?
Uh, yes... Are these things all related to the concept of change and why things are divided into ten parts in The Stormlight Archive, and the answer was "Yes, these are all very much interconnected."
Can you write something about Szeth?
About Szeth? Yeah totally.
*written* "Szeth has been trained with most forms/more than one of surge."
What is the name of the Shard which is the Almighty?
Ah…RAFO!
Was it relevant that Ruin mentioned Passion to Vin?
Yes.
Amaram and Dalinar, they both talk about Gavilar a lot. How many secret societies did Gavilar know about or was he a part of?
Ah! How many did he know about? He knew of more than he was part of, but he was not part of very many.
When I asked you during a signing about how Rayse took down the other shards, you RAFOd it. Was that because it will be explicitly covered at some point in the series, or more because the subject will affect things later (possibly vaguely answering my question) and you dont want the info to get out too early?
And can you give anything on when it might be touched on? Front five, back five, book five?
There are a ton of reasons, and you've touched on several. It will be touched on increasingly going forward, but I'm not going to say when (firmly) it will be discussed in depth.
Can you tell us something about the magic on the Darkside?
Not nearly as explosive and obvious as the magic on Dayside. Most of the Investiture you’ll find is on Dayside, but there is some stuff going on over there.
Did Sazed get memories as fast as Taravangian when he Ascended?
Yes he did… but getting memories and getting these things and knowing what to do with them and stuff are different things. But yeah, I would say the experience was somewhat similar.
Will we get a further definition on what Rayse meant when he said “WE KILLED YOU” as Dalinar merged the realms at the end of book 3?
I don't know for sure if I will give more on that or not. So for now, it's a RAFO.
Author's Foreword
This is probably a good place to talk about the shift from third person into first person.
The book was originally written in the third person. There was a narrator telling us this story–someone listed as “Cecil G. Bagsworth the Third” on the title page. (Cecil, by the way, was invented by my friend Dan Wells as a humorous alter ego. I borrowed him for this as an inside joke, but eventually cut him–then put him back in as Alcatraz’s Free Kingdoms editor.)
There was a joke inherent in the narrator guise for this book. As the novel progressed, you realized that the author of the book was indeed Alcatraz, who was writing it and talking about himself in the third person. This let me have all kinds of jokes where the narrator would exaggeratedly describe Alcatraz as being smart, witty, or handsome. It also let me get away with some very clever word plays.
The problem is, it was too clever. Meaning that it was something I found funny, but that undermined the book. Since it was so convoluted and strange, it distracted from the story and the characters. It also felt a little bit too much like the Lemony Snicket narrator used in the A Series of Unfortunate Events books.
Credit for getting me to change the book from third person to first person goes to my agent Joshua and his assistant Steve. Joshua was very firm on the need to swap out the third person narrator for a first person that would bring us closer to the character of Alcatraz, while at the same time give a more solid narrative reason for all of the diversions and asides in the book.
Once I came around to this suggestion–which didn’t take much–I realized that I’d need a foreword to explain why Alcatraz was writing this book. Now that the ‘third person who is the first person’ mechanic was gone, I could create and use a backstory for why Alcatraz is writing his memoirs, which I ended up really liking (far more than what I lost) for what it let me do.
This introduction not only lets me acclimatize readers to the difference between Librarian lands and the Free Kingdoms, but also lets me begin to establish the character of Alcatraz the failure–the person our hero will become. That gives some tension to the narrative, I think, as the reader wonders how Alcatraz ended up like that. This introduction gives a framework to the fictional publication to the book, giving us a story we can all–as readers–be part of: the resistance against the Librarians.
Assistant Peter’s note: I’ve put up the original third person versions of the first two chapters. You may enjoy comparing them to the final versions.
How do I decide whether to do first person, or third person?
Good question! If you're a writer, one thing I'll mention to you if you haven't watched them, I recorded my BYU university lectures, which are on writing science fiction fantasy, and put them on Youtube. So if you just Google "Sanderson lectures," you'll find my whole class there, and I do a whole section on first and third person.
It breaks down to a couple of decisions. Third person tends to be really good with a large cast. Because you can take this large cast and you are constantly mentioning their name. It's actually a pretty big deal. First person... How often do you guys finish a first person book and you can't remember what the character's name was? You've read a whole book about them. And if you have three or four characters, jumping between, it gets real easy to lose perspective. And first person also, depending on how you do it, can sometimes lack a little bit of immediacy. Because the person themselves is telling the story, there's a part of your brain that says, "Well, they obviously survived long enough to tell me their story." Even if they're telling it in present tense, or even if you know that occasionally you'll read a first person book where it turns out they were a ghost all along or something like that. Like, that happens. But there's just this sort of thing in our brain that says, first person tends to work really well for a single narrator, maybe two, in a story that they are telling yourself that they can infuse with their voice. Third person tends to work very well for longer epics, and tends to work with multiple viewpoints a little bit better. It's just easier for readers to track and things like that. Partially it's just kind of a gut instinct, what feels right for the book.
Can Dalinar permanently bring someone back from the Spiritual Realm?
No. In fact, whether or not the voices he is hearing are legitimately voices from Beyond the Spiritual Realm, or if they're a manifestation much like the visions that the Stormfather creates, where Dalinar's desire for certain things is basically creating... So when Dalinar goes into the visions, what's going on there is: these are not people with autonomy that he is interacting with. These are Investiture manifesting a basic AI that is able to adapt, cause Investiture kind of can do this.
Dalinar would argue, "Yes, that's the case except for when I actually met Nohadon. That character felt different, that felt like the real Nohadon stretching through the Spiritual Realm and actually interacting." Jasnah would say, "No, that's because, Dalinar, you have such, in your mind, a hope and desire to see Nohadon, he's this mythological figure in your head, that basically the Stormfather's knowledge of who he actually was was creating this much more animated puppet that was more like actually how Nohadon was, but was based on knowledge of the spren and the Investiture that you're interacting with." And Dalinar would say, "I heard Evi's voice." Jasnah would say, "You heard the Investiture coming to life and speaking with her voice the things you needed to hear. And it wasn't that the Stormfather was like, 'He needs to hear this, I'm going to create this fake.' But it's instead your relationship with this magical force that does take on life of its own, manifesting this thing." Which one it is, I do not answer. Both are, I consider, equally valid interpretations of the text, and equally valid interpretations of the magic system.
Once someone is passed into the Beyond, there is no force that can bring them back, according to people's understanding of the magic system. There is even the argument that Cognitive Shadows are not the person. That the Cognitive Shadow is indeed a spren with the memories and an imprint of the person's personality that becomes self aware and continued on living that person. It's kind of the same question that arises in Star Trek. When you are ripped apart and rebuilt piece by piece with the transporter, some people in Star Trek do not believe you are becoming the same person again. You are then a different individual who has been cloned from the person and had the memories attached. Functionally, in the narrative, for the reader, it's the same. Is it the same soul or not? That question is answered differently by different people in the Cosmere. There are equally valid interpretations from the reader. You get to decide, basically. You get to decide, just like if there's a story where a person's brain is uploaded to a computer, you get to decide: is that the same person? Because we can't do that, we don't know. Is that the exact same individual, or is that a computer simulation of that person, where the person has died? That's what a Cognitive Shadow essentially is, but using Cosmere physics instead of theoretical science fiction physics.
If someone used Hemalurgy to take someones Feruchemical abilities would they be able to use that persons personal metalminds? Most relevantly perhaps to take that person's knowledge from their copperminds?
Yes.
If someone stored their identity in an aluminium metalmind, then had their powers and metalminds stolen via Hemalurgy, then the person who took the powers used the aluminium metalmind to draw out the first persons identity would it permanently overwrite their personality with the original persons ? ( would kind of be a long winded way of stealing someone else's body and becoming immortal )
All Identity questions are a RAFO until I deal with it more in the books. (Sorry.)
If the spike granting Feruchemy were to be reforged/split into two distinct spikes which are then implanted into two different people, could those two people "share" a metalmind (as in actually be able to tap something the other stored and vice versa?).
It's complicated, but no.
There would be too much of the other person mixed in. Both could use the metalminds of the person the Feruchemy was stolen from, but when they made their own, their own Identity would "muddy" the creation.
I wanted to ask, is the Shardbearer [Vessel] of Odium a human?
Not any longer.
Ok, that's... I didn't expect that one.
But what the answer to your question you really want to know is, was he originally human?
Yeah.
Yes. That's a good question! But I don't think he counts anymore.
I just wanted to add in my two cents and say it was absolutely brilliant... and I think I'm starting to be able to breath again (crying that much hurts)...I also really loved that there's an "cameo" for Kelsier at the end... that made me really happy to see.
Glad you liked the book, Rainbow!
You may want to note that the moment Preservation dropped out and let the last of his consciousness die, someone was waiting in the Cognitive Realm to seize the power and hold on for a short period until Vin could take it up more fully. You'll find him using it to whisper in moments of great stress in the book, to one person in specific in two places. (I'll bet someone on here has already found them.)
He never could just let things well enough alone....
If Dalinar were to deadeye the Stormfather, would highstorms stop or change? Related, were there highstorms on Roshar before the Splintering of Honor?
RAFO, I'll have to think about that.
I currently have a pet theory--
Oh yeah? What is it?
That... there's a-- That there was-- Whatever the fourth Shard that Odium [Splintered]-- People-- The people who founded Threnody were--
So you should read Khriss' introductions to the worlds in the Cosmere Collection.
Spren bonds: there was some intimation somewhere that I read that there might not have been spren bonds before [Aharietiam, the day the Desolations ended]?
I'm not going to answer that one either but we will delve much more into this. The spren were around back then but they were not nearly what they are now: they've changed over the course of the book obviously. I think the cosmere theorists have figured it out. They are much more prevalent following Honor and what happened to him, but there were some spren on the planet before even that happened.
I asked for info about Hoid's silver sword.
It is not Invested but it has personal value to him.
I was talking with a couple of others in another chat room about Vivenna and Siri's personal journeys in the book, especially at the end when Vivenna decides that she isn't going to write to her father in Idris. There was much debate over whether Vivenna was being childish and running away from responsibility, or if she realized that she was so drastically different from who she was before that she knew she was going to disappoint her father and family. As the author, what is your take on this scene regarding Vivenna's growth as a person?
I would say yes to both. Vivenna ends the book having experienced a great deal of personal growth. However, unlike some of the other characters, she is only a few rungs up the ladder. She's got a long way to go. That's why as I was plotting the book, before I even started, I decided I'd probably want to do this as a two-book cycle. Overlapping and forcing upon Vivenna the level of personal growth that it would take to get her character to completely reach an end point just couldn't happen in the book. Particularly with me doing what I did with Lightsong and the personal arc he has, and with Siri. So Vivenna certainly had a lot of growth, but I planned a separate book where I could really delve into and dig into her psychoses and her psychology.
Vasher still has a long way to go too. His personal growth is more like a zigzag pattern—a line graph with lots of peaks and valleys. He's been around and still hasn't really found himself, though he's thought he's found himself a number of times. Anyway, those two characters led me to think that there was a lot more to explore there. I didn't want to ram them through the paces it would take in this one book. I thought it would ruin the book. So I let them grow at the rate they needed to grow at, or decline at the rate they needed to decline at, and saved a second book in the series to deal more with who they are and who they become.
In the Way of Kings, you have all of these different characters, how do you keep your characters’ personalities straight?
Good question. Keeping characters straight—the thing I do that deviates from most of the way I normally write. I normally plan quite a bit. I normally—my worlds are very intricately planned out, with their histories, and usually the plot of what’s going to happen are pretty intricately planned out before I start the book. The characters are not. And this is why a book fails, like the original Way of Kings did in 2002, it’s because one of the characters is not who they need to be, and they are failing.
This is something I do by instinct more than by planning. I grow my characters, so I often describe it as I “cast” my characters, I’ll put different people in the role, I’ll sit down and say “okay, here is a character to play this role.” I’ll start writing them, and seeing their personality, and seeing the world through their eyes, and I’ll see if that works. If it doesn't, I’ll actually drop that and rewrite that scene with a different personality, a different character, have someone else walk in and try the role. I’ll do that a couple of times till they click. When they click, I basically know who they are. From that point on, I don’t have any problems keeping them right. When I write a book when a character doesn’t click, then that book often fails. Sometimes they click halfway through, and I have to go back and fix them. Sometimes they’re just 90% there, and I just need to keep writing and figure it out as I go. But sometimes, that never quite works, and this is the reason sometimes—there is this book named Liar of Partinel, which I never released, because the character never clicked. And people will say “Let me read it, let me read it!” but it will predispose you to that character, and that character, that personality is the wrong person. So I don’t know how I keep them all straight. It just works with characters.
But that’s just with characters. With plot and things I’ve got to write it down, for setting I've got to write it down. I actually have a big wiki that I build that I reference to keep everything straight. Characters I never have to be that way. They just work.
So I can’t give you good advice on that, because it’s simply how I do it. And they just grow into their own person.
Who in-world named the Intents of the Shards? Is it possible that they misinterpreted the name in any case, and that the Intent is not fully in line with the name we know?
This is possible. Right, this is absolutely possible. I mean you have context for this with Odium kind of claiming that it's not the right name for Odium. Others would disagree, but Odium has tried, aggressively, to change that name. I will say, you could make the argument, well, Odium just is bucking the trend and this is actually who Odium is. It is possible. Which is why Odium would try to get that name changed. These are imperfect definitions of ideas, as most words are. Those ideas could be misinterpreted.
Could a Deception Shard be out there calling itself something else, and none would be the wiser?
None being the wiser would be real hard. The other Shards knowing but other people not knowing could happen. It would be pretty hard for the Shards to not know, but it is within the realm of possibility. How about that?
How do you choose ages for your characters and how often does that change throughout the writing process?
How do I choose ages for my characters and how often does that change the writing process. I choose my characters... It's really hard to talk about. Because I can really drill down into how I come up with settings, so magic systems and things, and I can talk a lot about how I plot and why I plot. Character is the one that I discovery write. Writers tend to fall somewhere on this spectrum generally between what we call discovery writers and we call outliners, and I'm mostly an outliner. I like a nice tight outline, I like to know where I'm going and what's going on in my world before I start writing. But I found that I have to free write my characters, I have to figure out who they are as I write. Otherwise this outline is going to be too restrictive and I'm going to end up with characters who feel wooden. And I think that's the real risk of outlining too much, is writing the life out of your characters. And so the ages do change, and the personalities change. The famous one is Mistborn, which stars a sixteen year old girl named Vin, she was a boy in the first chapter I tried to write of that. And then that didn't work so I tried a girl with a different personality and that didn't work either. So it was the third try where it's like I'm having people walk in and and try casting calls and seeing who works. And that's generally how I go about it.
With Steelheart the character didn't click for me, and I was really worried about that. Like the prologue worked wonderfully and I wrote the prologue separately, I wrote it years before I went back to the book. Because I just had that prologue pop into my head and I wrote it out. So if you read Steelheart the prologue is like 5,000 words, it's huge, it's like twenty pages or something like that. It may not be that long, but it's a big chunk. It was the first thing that I did, and then I put the book aside. And I was really worried when I started writing that I didn't have a voice for the character, because the prologue takes place ten years before when the main character is a child. So I started writing and it didn't work, and I started writing again and it didn't work, and the thing that ended up working, this is the silliest thing, but it was when I wrote a metaphor that was really bad, a simile, right? And I'm like "Oh that's stupid" because that's what normally happens. That's what you do when you are writing, you come up with something and go "Why did I write that, it's dumb?" and you delete it. And this time I started to delete it and thought "What if I ran with that?" So I started running with it and this character grew out of the fact that he makes bad metaphors. And that's just a simple trope, a simple thing, but it grew into an entire personality. This is a person who is really earnest, trying really, really hard. They are smart, they are putting things together, but they just don't think the same way that everyone else does and they are a little bit befuddled by things. It's like they are trying a little too hard. Ironically-- Or I guess coincidentally, not ironically, the metaphor of writing bad metaphors became what grew into the personality for David. His entire personality grew out of this idea of someone who is trying so hard, and you just love him because he is trying so hard but sometimes he just faceplants. And my children do this. Like I remember my child when he was five years old and he was running toward me so excited, telling me about something and this thing that he had in his hand and there was a pole in front of him but the thing was so important. And he smacked right into and fell right back over just stunned. Like "Who put this pole in front of me?" *laughter* It was at our house, it's not like he didn't know there was a pole there, right? He was just so excited by this thing Dad, this thing! And that was where David came from.
So I was reading the Alloy of Law, and at the end I read through the Ars Arcanum. And I got confused because it’s written in first person, but it refers to Harmony in third person. I thought he was writing it, so who writes that part?
That’s a good question for you to be asking, one which people have been curious about, and I have not yet answered who writes all of the Ars Arcanum, but they are in-world, somebody's writing them. If you ever read The Way of Kings, it’s written in first-person too.
Are they all written by the same person?
Ah, have I answered that yet?
You should.
I should? They are all written by the same person.
Because it sounds like they’re written by Hoid, I think.
They are all written by the same person.
Fathers of spren are mentioned twice. When spren talk about their fathers, are they usually talking about the person who raised them?
Yes.
Or the person who gave them life? Like, their offspring?
Those are usually the same person, right? Depending. But not always. But usually... it would vary if they aren't the same person. But I would say, normally it's the same individual. "Person" may be the wrong term. But I think they would say they're people, so "person."
Lightsong's personality is very different than Stennimar's. If the Returned are their previous lives--Cognitive Shadows as you've said before, just stapled with Divine Breath--where do their new personalities come from?
My argument there is when I was writing him, getting into a kind of writer-thing, this is the person he would have become... My philosophy there was, the way that the Returned happen, and you losing your memories, it comes down to this nature versus nurture thing for me. The personality-- He is the same person, but with certain life experiences removed. Different circumstances. And in his case, that resulted in, let's say, a secondary mode of personality that had never been encouraged before.
Just like how, you put me in the right situation I'm an extrovert, but in a lot of situations I'm an introvert. So you remove a lot of the cultural conditioning and that is who he becomes.
Chapter Fourteen
They Visit Ranette
Ranette was a late addition to the story. I didn't start building her until I was working on chapter ten or so. (All earlier references to her were added in during revisions.)
I was feeling there was a hole in the story, that it needed one more character, probably a woman. I also wanted to add a gunsmith to the book, and so I started working on who she would be. Some hints of her personality came from the other character from the original short story. (Remember, the person who became Wayne was riding into town on a kandra with a horse's body. That kandra was female.) The personality I'd been developing there eventually jumped rails to become Ranette.
She's not kandra any longer, and I shifted some pieces of who she was to make her a more complete person. If you didn't catch the hint from Wax, she is indeed a lesbian, though it's not much of a big deal for the book. I try to find places for LGBT characters in the novels. (There's another one in The Way of Kings.) However, I back off from making much of an issue about it.
I guess I could be accused of not giving them full representation because of the fact that they usually have minor roles. The truth is that I'm worried I'd just do a poor job of it if I tried to write from their viewpoint; being gay is one of those things that tends to be very dominant in a person's way of seeing the world. It seems that there are a lot of pitfalls that I could saunter right into. I've think I've learned, after a lot of work, how to write female characters who (hopefully) don't feel wrong. However, I haven't taken the dive in trying to figure out how to write a gay or lesbian character.
But that's only one reason. There's a deeper one for me. Ranette will likely get viewpoints in the series, when I do more Wax and Wayne books. However, the books aren't about sexual identity, so I'll probably steer clear of that topic. In a way, I think that making a big deal of it could be more harmful. One of the reasons I put LGBT characters in my books is because they are a part of our world, and deserve representation in fiction. It's strange to think that in our world, LGBT people make up a significant minority of the population, yet in fiction (particularly fantasy fiction) they tend to either vanish completely or the story has to be all about who they are and their sexuality.
This strikes me as a bad way to do things. Just like not every book including women characters should be about feminism, not every book including LGBT characters should be about sexual orientation or gender identity issues. If they are, then that just highlights the supposition that they're out of the ordinary—it draws attention to that idea, rather than simply letting them be characters with a larger role in the story. We don't care about Lord Harms's sexuality, or Mister Suit's, or that of Miles. Why shine a big spotlight on Ranette's? It just seems divisive to me.
Anyway, those are just a few of my thoughts on the topic. Perhaps they will change as I ponder on it more.
Can you talk about your influence for Steris?
I remember one of the things that really inspired me for Steris is actually Karen Ahlstrom, who is my continuity editor. Karen once was at a writing group talking about how she loves character who are like her, who always are ready. The person who saves that scrap. People call them hoarders, and in her head, she's like, "No no no. A hoarder is someone who doesn't know what they have or why they have it. I have this thing that I have saved. So I know I'm gonna need it someday." And someone's gonna say, "Man, I wish I had a cape for a seven-year-old that would go with this costume." And Karen is the person who says, "I've got one of those. Here, let me get it for you." Karen just loves being prepared to help people. And I thought, that is a brilliant and amazing character attribute to give to a character. The kind of Boy Scout "be prepared," but more in a "I'm ready to help. I do the research, I find out what people, and I am ready there with it. Maybe a little too much."
And that really melded together with seeing her personality. She is based partially on a friend of mine who, when I first met this friend, it was very off-putting at first, getting to know them. What we took for being stuck-up was really just them being a little socially awkward, like most of us in this community are. But the way a lot of us express it is through being kind of goofy. And this person expressed it through being a little bit aloof. Which, when we got to know this person, we're like, "Wow. This is one of the most amazing people we've ever know." But very hard to get to know them, because mostly of us, our own prejudices against people who are a little more quiet. So, I put that into Steris.
Say you have a Feruchemist who pours Identity into a metalmind. Then subsequently loses that mind, and then is later Awakened? Would that mind retain the personality of--
*Everyone laughs, Scottish man says "it's 11 o'clock at night, give the man a break!"*
Okay, so they store Identity—which I haven't told you what it does--
Yep. We don't know.
And then you Awaken it, and then you want to know if it has the personality of the person?
Yeah, or if it's able to communicate in any way.
Um, if-- how much Awakened is it? Is it Nightblood-level Awakened? Or is it just regular Awakened?
Sure let's say Nightblood-level.
Nightblood-level. So it's-- so the Investiture has been granted sapience. And it's got Investiture from somebody else stuffed in it. I can foresee a scenario where that has an influence, but it's not going to be the personality of the person who stuffed it in. I can see some circumstances where they can-- where the Investiture of the object can make use of that in some way, but...
Oh boy, that was a weird one.
They [the Alethi] are tan.
You're not wrong for your observation, here, /u/Faenors7. When I saw them, I noted to Isaac that the skin tone for the Alethi in the cards [Stormlight Archive Playing Cards from the Way of Kings Leatherbound Kicksterter] was a touch darker than I imagined. But it was within the variance (I'll explain below) we imagine for the Alethi, so I decided here that we should leave it.
The reason is that we've allowed a lot of leeway to artists in their depictions. If they paint everyone looking white, we speak up, and we usually show them some of our guides of models and pieces of art we think are on target for character designs.
However, I haven't wanted to have a strict skin tone guide. Thing is, most Rosharans don't look at skin tone so much as eye color and hair color. It isn't that they ignore skin tone, but it isn't the same for them as it is for us, in part because a lot of cultures (like the Alethi and the Vedens) have a wide range of skin tones.
It's something I think we (myself included) are a little blind to in American culture. Like, we call someone black if they (like President Obama) are of a mixed race heritage. This is partially because of our particular biases. But what makes someone black is actually pretty nebulous as a skin tone shade when you look at the wide variety of black skin tones. The same goes for what ethnicity we consider white, when a hundred and fifty years ago, the more olive-skinned European people's would have not been lumped into that group.
I often point to India as a good example of what you might find in Alethkar--you find a ton of skin tones across the sub-continent, and they're all Indian. Same for the Alethi. And I don't spend a lot of time talking about whose skin tone is darker, and whose is lighter, within that range.
So when we get back something like these cards--and this is how the artist views and imagines the characters--we roll with it, offering little pieces of feedback here and there. (We had her make tweaks to Adolin, for example, to get him closer to how I imagined him.) Same for the poster--which has the Alethi characters with lighter skin, closer to what we'd see on a Japanese person on Earth.
This might be the wrong path, and I'd appreciate feedback on it. I do want to be careful not to whitewash characters (something I've had trouble with before in cover art) but I also worry if we focus too much on exactly how dark or light the skin of these characters are, we're missing the point a little. I believe in letting people who read the books imagine the characters as they would like, with me providing some guidance. It's a central theme to me in how I perceive the author-reader relationship.
This was why I was hesitant at first to even have depictions of characters in the books. (And why I liked the first cover of the US edition so much.) As we've moved along, however, I've taken a different tactic--that of admiring, and even including, different depictions from different artists, letting variety (hopefully) let the reader imagine as they want.
Sorry for the long post. It's a topic that keeps coming up, so I thought I should say something more definitive. Hopefully, people can keep a link to this post in their pockets whenever discussions about this pop up.
I guess I must've misremembered a quote of you talking about them as darker. Oops.
Well, you're probably not remembering wrong. I've been asked before if the Alethi skin tone is darker than, say, a person from Japan might have. And I'll usually say, yes--in general they are. But I also think it's all right to paint them like a modern day Earth person from that region, as that's often what artists will use for a model or reference. So in general, if you saw an Alethi person, you'd think, "Asian person, with tanner skin than most." But that's imagining an average Alethi, with some having a darker tone, and some having a lighter one.
The second important part of this chapter, obviously, is the introduction of Kiin's family. Sarene's personality makes her less independent than Raoden or Hrathen. It isn't that she lacks determination, or even stubbornness. However, her plots, plans, and personality all require other people–she needs politics, allies, and enemies. Ashe provides a wonderful way for her to talk through her problems. However, I felt that she needed someone within the court of Arelon with which to work and plan. As the book progresses, you'll notice that Sarene's chapters include far more side characters than Hrathen or Raoden's chapters. In fact, I'll bet she has more than the other two combined. This is just another manifestation of her communal personality–she excels in situations where she can coordinate groups, and she needs a lot of different people to interact with to make her personality really come out.
I have gotten a little grief from readers regarding Kiin's family. Some think that the family as a whole feels too "modern." It is an anachronism that, to an extent, I'll admit. One of the quirks about the fantasy genre is how it generally prefers to deal with ancient governments, technologies, and societies without actually making its characters conform to more ancient personality patterns. In other words, most fantasy main characters are people who, if dusted off a bit and given a short history lesson, could fit-in quite well in the modern world.
I'll be honest. I prefer the genre this way. I don't read fantasy because I want a history lesson, though learning things is always nice. I read for characters–and I want to like the characters I get to know. I like putting characters in situations and exploring how they would deal with extreme circumstances. I just don't think this kind of plotting would be as strong, or as interesting, if the characters weren't innately identifiable to a modern readership.
My in-world explanation for this is simple. Just because our world placed a certain kind of cultural development alongside a certain level of technological development doesn't mean that it always has to be that way. In many of my worlds, culture has out-stripped technology. This does have some rational basis; I write worlds that involve very distinct–and often very prevalent–magic systems. Because of the benefit of these magics, many of my societies haven't been forced to rely as much on technology. There is more leisure time, more time for scholarship, and–as a result–the societies are more developed.
That said, Kiin's family is a bit extreme, even for me. However, the honest truth is that I wrote them the way I like them. They work, for some reason, to me. They stand out just a little bit, but I'd like to think that it's their brilliance and forward-thinking–rather than a mistake in narrative–that makes them seem so much like a modern family.
Memory is tied to some level or portion of Spiritual Identity, or else Feruchemists would not be able to store it. So, Hoid lost memories at the end of Rhythm of War in his exchange with Odium. Would that mean part of his soul was stolen and then absorbed into Odium, and if so, what is stopping Odium from doing that with all of his enemies?
Basically, what Odium split off is stuff that Hoid is storing in excess Investiture. (Basically, it was Breaths, in Hoid’s case.) And this sort of thing, where this extra memory… One of the reasons that Hoid is able to function better than, perhaps, some other very long-lived individuals is: he has found out how to keep some of this Identity in, shall we say, SD cards made of Investiture. Imagine that sort of thing. So what Odium was stealing from Hoid was straight out of an SD card. Which means that it’s not nearly as deeply ripping into someone’s soul, and it is also not nearly as noticeable.
But the other thing is: Hoid is directly in violation of certain agreements that have been made, which therefore exposes him to… He is lacking protections. As you’ll notice in the end of Book Three, where he’s like, “I need to be careful, because I am in violation.”
And so, there’s a couple things going on here. Number one, much more easy to access those memories. Number two, Hoid’s in direct violation and under no protections of any sorts of agreements and things like this.
Kelsier and Thaidakar. At what point did you decide Kelsier would be part of The Stormlight Archive?
Thaidakar isn't; his minions are! Pretty early on, there's a whole lot of Kelsier in Era 3 and as soon as I decided that when I outlined the original nine books as I was working on the original Mistborn trilogy I knew that there needed to be some more of him influencing the world/universe at large. He is a really fun character to write because he does not fit in boxes very well. He does like meddling. There are a lot of things I want to do with Era 3.
One of my big concerns when I was building the outline with Kelsier, when I was building the outline for all 9 books before I added the Wax and Wayne books, back in 2004 when I was doing a lot of the big outlining for the cosmere - Emily's got to dig out that paper I once wrote out for her - I guess that would have been 2004 to 2006, because I got married in 2006, and it was 2007 where I drew that thing out for her. No actually it was summer 2006, because I didn't have my laptop with me which I wasn't allowed at the family reunion, so I instead had a notebook, because if I'm not allowed my laptop, I will have a notebook, and that's why we have a physical copy of this thing.
But when I was doing all that one of my big concerns was how to make sure people kept interested in Mistborn while I was potentially spending years and years away from it, at that point in the outline I was going to write Dragonsteel before Stormlight. And I started trying to do that in 2007, either way we're talking 5 to 10 years away from Mistborn at that point. How can I make sure that this stuff-? So I outlined Secret History that I could release in the meantime, and a potential Secret History follow-up. That I've mentioned before that I don't know if I'll ever write. It wasn't until 2010-2011, that I was like "why don't I write some short stories in this world to keep people focused on it?" And I tried one and it was bad, and I'm like "what if I just wrote a little novel?" I can do a little novel, right? And that's where Alloy of Law came from.
Technically speaking these are all solutions to the same problem, which is people can't forget about Scadrial it's really important. They can forget to an extent about Sel; it's still important, but it's not important on the level that Scadrial is gonna be. Scadrial has so many fingers in the technology of the future. So this was another method to make sure we had some Scadrian influence happening while I was in other worlds. Turns out we ended up getting ALL of them, we got Secret History, and The Alloy of Law, and the little fingers in The Stormlight Archive. But it was important to me that the fingers in The Stormlight Archive be through the frame of reference of The Stormlight Archive.
I definitely think Shallan learning about cosmere stuff is a good intro for Stormlight-only readers to get interested in the cosmere, kind of like Mistborn: Secret History is for Mistborn-only readers.
In Roshar if you learn, "Hey, there's more planets out there," and they see Roshar as something with a very valuable resource. That's enough of an intro to the cosmere to make it work in Roshar, and to make you prep for the future. That's why I did it the way I did. And also knowing people were more okay with this. But also I needed to get it in, I almost should have done it earlier. I saw people guessing that one by Words of Radiance. But by the time I was releasing Words of Radiance I was seeing fan theories that were like, "What if this."
So like throwing darts on a dart board. "Ah, like this person's this other person."
Yeah, it might be that. The whole philosophy of the Ghostbloods was suppose to dove-tail with Survivorism. Survival of the fittest type stuff very much. I'm hoping from the things they've read in that they were able to connect the philosophies rather than throwing darts at a dart board, but it could have been the dart board thing.
It's funny because we already recorded the Kelsier podcast, but it's gonna come out after this one. You've put me in a very weird situation, because loved the Ghostbloods. I guess I still love the Ghostbloods, I have a terrible villain crush on Mraize, he's one of my favorite characters and Kelsier drives me crazy. So finding out they are intrinsically linked I'm like "Noo! Kelsier is ruining my favorite thing." But it does make sense I have to admit.
It's okay. Mraize does not have to do what he's told, and Iyatil who - that's the other thing once I dropped Oathbringer, and this is a southern continent Scadrian running around, this is pretty obvious connection to Scadrial. I had to eventually canonize that. Iyatil is -
Don't consider people in the Ghostbloods flunkies. That's not a very Ghostblood-ish philosophy.
I guess that makes sense, they're all trying to backstab each other. Well no I guess not.
No, they're not allowed to backstab each other. [too many people talking at once] [Ghostbloods have]? specific rules, because they need them to be very strong specific rules. If you have an organization of people who are drawn to the way Kelsier works you need some really strong rules. [Hosts laugh] When he is just with his crew, his force of personality, and the people he individually picks you're not gonna have that problem.
I always imagine-you can relate it to Tor Books, they're all assassins. When Tor really functioned well, back in the 90s, it's because Tom Doherty could keep a close eye on everything. And he liked his editors being a little bit in competition with each other. And he structured his organization so that if you picked an author who did well, you got bonuses, based on how well the authors did which is just a way of working that could really lead to an unhealthy office environment, if you think about it. But if you have Tom there making sure that that doesn't become the case, and if you have Harriet watching and making it a good incentive, not a bad incentive, then it all works really well and you have one of the strongest sci-fi publishers that's ever existed, because everybody was incentivised to find really good stuff. But they were corralled by Tom Doherty and kept it from becoming toxic. But now that Tom retired I think they're changing a lot of that, because its grown too big for one person to watch over.
And it's the same thing with Kelsier, in an immediate organization of Kelsier's you're gonna find a well bonded crew of people hand picked who are going to work together as a team, and you aren't going to have to worry about too much about backstabbing - less than average for the type of organization that they are. But if his structure is outside of his direct manipulation, the type of people who would be attracted to the organization he makes...
...Are not gonna be nice.
...You're gonna have some problems. Mraize would not say that he's not nice. [hosts laughs] Mraize would just say that his niceness is an analogous threshold that does not intersect with the threshold of competence and capability of things he's trying to achieve, those things don't need to overlap in his life.
He'd say he's a very nice person. He was very nice to Shallan by his definition. [hosts laugh] He was very nice to Lift by his definition of things. Think of all the things he could have done with Lift, and what did he do? He gave her as a present to an ancient being who ruled the tower, who could properly take care of one such as Lift.
Mraize is very nice.
You heard it here, it's canon. Mraize is nice.
Mraize is nice, and he also wanted to keep his fingers and he felt that was a better way to keep his fingers, was to make sure Lift was someone else's problem. He got what he wanted, which was being able to capture her, which was not that easy, he would say. So he deserves to have whatever reward, because it was quite a difficult enterprise on his part. She is not easy to capture.
You know those Scadrians gotta keep an eye on things, they like to meddle.
We know that you can't Lash people in Shardplate, but can you Lash the person inside the Plate? If they had their helm off, for example. At that point Plate should be just dead weight, right?
There's a bit of an interference envelope. Wearing plate, the person has this big ball of investiture around them, and so pushing any through it--even by touching a person without a helm--is going to be tough. Easier than with the helm on though, I suppose.
Investiture acts (roughly) like a saturated solution in these cases. Sticking more power into something like a Feruchemical storage or a hyper-invested object like Plate is increasingly hard. The other part is that Investiture tends to interfere with other Investiture, unless there's a familiar resonance. (This is part of what philosophers call Identity.) Slapping your hand through a sand master's stream of sand will cause interference, and make them start to drop. It's not that the sand is supporting them, it's that the investiture holding them up gets scrambled for a moment because of your own investiture.
Investiture pushed toward someone inside a hyper-invested (supersaturated) system like a person in Shardplate is going to get hard push-back.
This is similar to the reason that it's harder to Push on invested coins. Depends on how invested they are, in that case. It's generally not as hard as doing something like Lashing a person in plate. (This is more about the interference than the saturation of investiture.) But the two principles are what I use to guide the physics in these areas.
Can we take that as a hint that the Investiture in the Plates and the Investiture that the Surge of [Adhesion] uses come from different Shards? Or do they interfere because they "belong" to different spren?
You know, I should have realized this one would bring out the follow up questions. Let's leave it at what I posted for now. This is a deep, deep rabbit hole, and I do need to try to get some more writing done tonight. So...RAFO. (Sorry.)
My question was about your writing process... When you are writing do you become emotionally attached to the characters you are writing about? Does it become hard to distinguish between what you think the characters should be doing and what you actually have planned out for them? And how did that affect your Wheel of Time writing? You didn’t create them, but you took over their story arcs and did you become attached to any of those?
What an excellent question. I do grow attached to all of my characters, however character is the weird one for me. Character is very hard for me to define how I do it. With my plot I can talk about outlining the plot and these sorts of things. And my worldbuilding, I've written lots of essays about worldbuilding, and building magic systems and things like this. But with character I really sit down with this plot, this world, together and I start writing somebody in a role and I write a chapter and I see how they feel. It's almost like casting someone in the role. If that doesn't work, then I get rid of them, I get rid of that and I write a new chapter using a different character's personality but who feels very much the same in some ways. For instance, Mistborn, I did this quite famously, Vin started with a guy, I tried Vin as a guy and then I tried Vin as a woman, but a different, a very different person from what you read, who was very confident and more Artful Dodger type person, and then I tried the Vin that ended up in the book. I can't really explain to you why I knew those first two were wrong, they just were. So I ditched them and tried again. I do that until I've hit the right character and then I let them start growing and developing as I write the book and if the person they turn into is not the person who would do the sort of things that are in my outline I either have to change my outline, which I will sit down and do, or I'll say "this character is awesome but they don't belong in this role. I will write a book around them later, and find a place for them." And that's-- Usually I just re-write the outline, once in a while I pull out the character and put someone else in that place. If a book is going wrong for me, it almost always because of one of the characters, something is wrong with them, and I wish that I could explain it better. It's actually really thrilling for me, when a character is alive and working well enough that I know they wouldn't do what is in the outline. That's not a sad moment that's a "Aha! I've got something good here. This character is working, they are strong enough on the page that they can balk these constraints that were placed upon them." Because an outline, while it is a great tool, the danger is that the outline constricts your story and it doesn't allow it to actually feel alive. This is when you get these wooden characters that just kind of cardboard cut-out through a book. That's when often the outline just takes too much-- takes over too much of the characters. So it's exciting, but it can be very frustrating when it's not working.
It did happen with the Wheel of Time but in a different way. The Wheel of Time characters were like my high school friends growing up, these were my buddies. I was a nerdy kid who sat in my bedroom and read books, and these were my friends. So writing them I was really worried that it would be difficult to write them. But it was actually very easy, their voices snapped for me quite quickly, I knew what they would do. So much in fact that Mat was a little off in Gathering Storm, I didn't notice it because I was so used to characters coming very easily to me. And yes I feel very much in love with writing them and these sorts of things because of these sort of things but it was because of my past familiarity with them that allowed me to do that.
I've got a list of various Cosmere bits of metal and I was wondering if you would rank them from like one to ten or just easy to difficult on how hard it would be to steelpush on them. So with one being just a regular coin, ten being like when the Lord Ruler was moving bits of glass on the floor, so like metal inside a person's body.
It depends on how strong the Investiture in them is.
Is that gonna be the answer for all of these?
Probably!
How about a spike charged with Hemalurgy?
A spike charged with Hemalurgy... that depends on...
Not in a person.
Depends on how strong, yeah, a spike is moderately, (in the realm of these kinds of things) moderately easy to push on because a spike does not rip off very much Investiture. Only enough to short circuit the soul, and less it over time. I would put that at the bottom, with the top being very hard, to be one of the easier things.
How about a metalmind that is full?
That is full? That is going to be middle of the realm of the, yeah. Generally easier than, for instance, a Shardblade which is going to be very hard.
A Shardblade is [inaudible] actually metal? [metal]-ish?
Ish. Is Lerasium a metal? Yeah.
So that'd be the same for Shardplate too?
Shardplate and Blade are very hard. Blade is probably gonna be a little harder.
A Half-shard?
A Half-shard shield? That's gonna be moderate.
Nightblood? I imagine that being hard.
Hard, of all the things you've listed, that is going to be the hardest. Far beyond even a Sharblade.
Far beyond metal inside a person?
Uh, yes. Depending on how invested the person is.
If somebody was invested as much as Nightblood?
Yes, for instance the God King, right. At the end with all those Breaths. Pushing something inside of him, getting through all of that? Gonna be real hard. Average person on Scadrial? You've seen how hard that is. A drab? Much easier.
That was my next one, or no, sorry not a drab. A lifeless?
A Lifeless, yeah. Even... yeah. Lifeless are kind of weird because they've had their soul leave but then they've had a replacement stuck in in the form of Breath which leaves them in a very weird position compared to a drab which has had part of their Investiture ripped away but a majority remains, so, anyways. I'm going to give you one more. Pick your favorite.
A soulstamped piece of metal?
A soulstamped piece of metal is going to be on the lower, easier side. Not a lot of Investiture going on in a soulstamp.
Part One: Leatherbounds and Survey Time!
This year, we’re releasing the Warbreaker leatherbound! This book is particularly gorgeous; we’ve added a few features such as illustrated drop caps and interstitial art. We put these volumes together in-house, rather than farming them out to someone else, and we pour a lot of attention into making them great. Next year is a big year for us, as we’ve reached the tenth anniversary of The Way of Kings, and will be releasing a leatherbound of that book.
Now, some of you might be wondering, “Brandon, isn’t The Way of Kings double the size of the previous books you’ve done as leatherbounds?” Yes. Yes, it is. That’s meant a lot of extra work on the part of my team, who have already been working on it for a good eight months. We want this book to be something extra special—and because of that, we’ve wanted to do preorder incentives (like goodies and swag) to go with it.
The logistics of doing this worried us a lot, however, as we’re still a relatively small team. Beyond that, we expect The Way of Kings leatherbound demand to strain our logistics and shipping departments. When talking about this with Howard Tayler, my cartoonist friend, he suggested we use Kickstarter to alleviate these problems. I was hesitant at first, as I know Kickstarter is mostly intended for people who need extra up-front money in order to create a product. We’ve been able to fund the leatherbounds ourselves so far, and we’re certain we can create these without needing extra time.
However, Howard really sold me on Kickstarter by pointing out how great the site’s management tools are for creators. If I want to offer different packages for the book, with a variety of preorder items personalized to customer preferences, the only way I’d be able to manage this is to take advantage of Kickstarter’s infrastructure and tools. As we’ve looked into the process, my team and I have come to agree that this is the only way we’d be able to do what we want to with The Way of Kings leatherbound.
So, while I know some of you might be skeptical about this like I was, I ask you to give us a chance to show why it will be a good thing. Our goal will not be to move to Kickstarter for all leatherbounds, only Stormlight leatherbounds every three years—because the added size, complexity, and logistics of such a large book require us to have some extra help. We plan to launch The Way of Kings as a Kickstarter in the summer of 2020, probably June or July. The book will likely come in two volumes, and will have to be around double the cost of our previous leatherbounds. (So, $200 to $250 instead of $100.) I thought it only fair to warn you all up front. Plus, if we hear concerns from the community that we haven’t considered, announcing it this early will help us deal with those before the actual campaign.
To that end, I have a little mini FAQ dealing with issues I think you might have.
Q: You are doing the Kickstarter in the summer. When will the books be sent out?The goal will be to start sending these out as soon as possible, hopefully months before the holidays arrive. We are going to put our order in as soon as we can for the books themselves, and get the incentives constructed ASAP. Ideally, we’ll send you a single box with book and rewards all together in one cool bundle.
There will be some digital rewards offered as well. These will be sent out the moment the campaign closes, and will hopefully tide you over until the physical products arrive.
Q: Will this leatherbound be available on your store later, like the others?Yes, it will. If you miss the campaign, you’ll still be able to buy the book.
Some things might not be available in the later printing, however, depending on what incentives we offer for the Kickstarter. For example, we will possibly offer a slipcase as part of the Kickstarter incentives—but (depending on the size of future print runs) we might not be able to offer that with the later editions we sell in the store. In short, the book will totally be there for you to buy later—but any stretch goal achievements and swag associated with the Kickstarter would have to come from that campaign. (With one exception mentioned below.)
Q: I like supporting my local independent bookseller. Will any stores be getting this book like they have other leatherbounds you’ve done?I haven’t cleared this with any of the stores yet, so I don’t want to speak for them. However, we love our bookstores, and have tried from the get-go to involve them in our leatherbound distribution. Our goal will be to set aside a certain number of books as requested by the booksellers we work with frequently. (And if you’re a bookseller who has had me in your store for a signing in the past, and you would like to be selling these leatherbounds too, make sure to contact us.)
My goal will be to add all bookseller orders into the final count from the Kickstarter, and order an equivalent number of physical reward objects for them to include with their books. So these bookstore editions should include all unlocked stretch goal rewards in the boxes we send for them to sell. They might not be personalized to your preferences (e.g. you might receive a random order of Knights Radiant, based on the box you get), but we hope this will work so that readers who prefer to buy from the booksellers do not feel left out.
The short version is this: if you miss the Kickstarter, there’s a good chance that a limited number of boxes with full rewards included will be available at retailers, for the same price people paid in the Kickstarter. Those stores should be similar to the ones that have been carrying our leatherbounds so far.
Q: Leatherbounds are expensive. Will I be able to participate if I’m not interested in such a high ticket item?My plan is to write a Stormlight (or at least Cosmere) novella next spring to offer as part of the Kickstarter campaign. We’re anticipating some lower tiers that involve getting digital-only rewards and a digital copy of the novella—all for a very reasonable price. We will likely also offer just the novella in print form, along with all campaign rewards, as another slightly higher (but still well below $200) tier that you can buy into as well. (And, of course, a tier that has everything—including the leatherbound and a print copy of the novella.)
Q: So…a novella you say. Anything else you can tell us about the rewards?We haven’t settled on anything yet. I haven’t even written the novella, so it’s possible that won’t even happen. However, it’s likely that we’ll be letting you choose an order of Knights Radiant (and we’ll post full descriptions of all ten orders, including information not yet in the books) and receive rewards based on your preference (i.e. physical rewards with that order’s symbols on them).
There’s also a decent chance I’ll offer an ebook of The Way of Kings Prime (the version I wrote of the book back in 2002 that is way different from the 2010 version) as a stretch goal unlock. This would be sent to everyone who participates in the campaign at any level.
Okay, if you’re still with me after that (we’re over a thousand words into this SotS already, and I haven’t even really started yet), let’s talk about the survey. After The Way of Kings, the next book to hit its ten-year anniversary is The Alloy of Law. Instead of being a lot larger than the average Sanderson book, AoL is half the size. We aren’t allowed by Tor to sell our leatherbounds for less than $100, and the logistics of printing them kind of preclude that anyway.
However, I thought that perhaps you all would like to get The Alloy of Law and Shadows of Self bundled together as a single leatherbound. I figured if we have to charge double for a double-sized stormlight book, shouldn’t we charge half for a half-sized mistborn book? This would require binding the two books together though.
Assistant Adam, who is a leatherbound connoisseur, mentioned that some people might not like this—he thought the leatherbound collectors he knows would just prefer to have the individual books, separate as they’re sold in stores, for their collection. So, we thought we’d ask you.
Finally, a couple of questions for those of you who attend my book signings. I’m having some growing pains in this department. My signings, put flatly, are just getting too long for me to handle. The last Stormlight tour wore me out, with each signing lasting until 1 or 2 a.m., with signs that they were going to grow even larger. I need to do something to either speed up the lines, or make the signings easier.
Fortunately, I have some guides in this department. I’m fortunate enough to be approaching crowds similar to the ones GRRM or Neil Gaiman get, and talking to people like them, I’ve found that there are two approaches authors generally use. Neil, for example, will pre-sign all the books. You don’t get to meet him personally at a signing, but instead you get a signed book—and then he does an extra-long presentation, with much longer readings, Q&As, and speeches than I do. In short, it becomes “an evening with Neil” instead of a book signing. Other authors (I know George has done this) still sign all the books, but don’t do a presentation at all, and don’t allow personalizations or pictures.
I’m curious what all of you think. My own inclination is a hybrid of my current method and Neil’s method—where I do a longer presentation like Neil does, perhaps bringing Isaac to do a presentation on artwork too. Then have a lottery (which is not based on your ability to buy a more expensive ticket, and is instead completely random) for a hundred people to come meet me afterward and get a book personalized.
If you’re interested, I’d enjoy you answering some questions about this too. (Note that none of these apply to release parties, which will continue to be the insane and enormous extravaganzas you’ve come to expect.)
Okay, whew. Thanks for sticking through all of that for me. But we spend a lot of time on the leatherbounds, and want to make sure we’re creating them the way you want. Now, on to the regular State of the Sanderson.
Consequences of the cut
Cutting the last scene was not without costs to the story. For the longest time, after removing this scene, something about what remained bothered me. I had trouble placing what was wrong.
The story went through editorial revisions and beta reads, none of which revealed what was bothering me. This process did convince me to add two scenes. The first was scene with the “paintball” fight in the noir city, which was intended to mix some action and worldbuilding in while revealing more of Kai’s personality. The second was the flashback scene where Kai and Melhi meet on the “neutral zone” battlefield, intended to introduce Melhi as more of a present threat in the story.
Something was still bothering me, even after these additions. It took me time to figure out exactly what it was, and I was able to pinpoint it in the weeks leading up to the story’s publication. (Which was good, as it allowed me to make some last-minute changes. I’m still not sure if they fixed the problem, but we were satisfied with them.)
The problem is this: removing the final scene hugely undermined Sophie as a character.
The deleted scene provides for us two complete characters. We have Kai, who wants to retreat into his fantasy world and live there without ever being forced to think about the falsehood he’s living. He wants just enough artificial challenge to sate him, but doesn’t want to explore life outside of the perfect world prepared for him.
As a contrast, we have Sophie, who refuses to live in the perfect world provided for her—and is so upset by it that she insists on trying to open the eyes of others in a violently destructive way. She tries to ruin their States, forcing them to confront the flaws in the system.
Neither is an ideal character. Sophie is bold, but reckless. Determined, but cruel. Kai is heroic, but hides deep insecurities. He is kindly, but also willfully ignorant. Even obstinately so. Each of their admirable attributes brings out the flaws in the other.
This works until the ending, with its reversal, which yanks the rug out from underneath the reader. Sophie’s death and the revelation that Kai has been played works narratively because it accomplishes what I like to term the “two-fold heist.” These are scenes that not only trick the character, but also trick the reader into feeling exactly what the character does. Not just through sympathy, but through personal experience.
Let’s see if I can explain it directly. The goal of this scene is to show Kai acting heroically, then undermine that by showing that his heroism was manipulated. Hopefully (and not every scene works on every reader) at the same time, the reader feels cheated in having enjoyed a thrilling action sequence, only to find out that it was without merit or consequences.
Usually, by the way, making readers feel things like this is kind of a bad idea. I feel it works in this sequence, however, and am actually rather proud of how it all plays out—character emotions, action, and theme all working together to reinforce a central concept.
Unfortunately, this twist also does something troubling. With the twist, instead of being a self-motivated person bent on changing the mind of someone trapped by the establishment, Sophie becomes a pawn without agency, a robot used only to further Kai’s development.
Realizing this left me with a difficult conundrum in the story. If we have an inkling that Sophie is Melhi too early, then the entire second half of the plot doesn’t work. But if we never know her as Melhi, then we’re left with an empty shell of a character, a direct contradiction to the person I’d planned for her to be.
Now, superficially, I suppose it didn’t matter if Melhi/Sophi was a real character. As I said in the first annotation, the core of the story is about Kai being manipulated by forces outside his control.
However, when a twist undermines character, I feel I’m in dangerous territory—straying into gimmicks instead of doing what I think makes lasting, powerful stories. The ultimate goal of this story is not in the twist, but in leading the reader on a more complex emotional journey. One of showing Kai being willing to accept change and look outward. His transformation is earned by his interaction with someone wildly different from himself, but also complex and fascinating. Making her shallow undermines the story deeply, as it then undermines his final journey.
There’s also the sexism problem. Now, talking about sexism in storytelling opens a huge can of worms, but I think we have to dig into it here. You see, a certain sexism dominates Kai’s world. Sophie herself points it out on several occasions. Life has taught him that everyone, particularly women, only exist to further his own goals. He’s a kind man, don’t get me wrong. But he’s also deeply rooted in a system that has taught him to think about things in a very sexist way. If the story reinforces this by leaving Sophie as a robot—with less inherent will than even the Machineborn programs that surround Kai—then we’ve got a story that is not only insulting, it fails even as it seems to be successful.
Maybe I’m overthinking this. I do have a tendency to do that. Either way, hopefully you now understand what I viewed as the problem with the story—and I probably described this at too great a length. As it stands, the annotation is probably going to be two-thirds talking about the problem, with only a fraction of that spent on the fix.
I will say that I debated long on what that fix should be. Did I put the epilogue back in, despite having determined that it broke the narrative flow? Was there another way to hint to the reader that there was more going on with Melhi than they assumed?
I dove into trying to give foreshadowing that “Melhi” was hiding something. I reworked the dialogue in the scene where Kai and Melhi meet in person, and I overemphasized that Melhi was hiding her true nature from him by meeting via a puppet. (Also foreshadowing that future puppets we meet might actually be Melhi herself.) I dropped several hints that Melhi was female, then changed the ending to have Wode outright say it.
In the end, I was forced to confront the challenge that this story might not be able to go both ways. I could choose one of two things. I could either have the ending be telegraphed and ruined, while Sophie was left as a visibly strong character. Or I could have the ending work, while leaving Sophie as more of a mystery, hopefully picked up on by readers as they finished or thought about the story.
The version we went with has Sophie being hinted as deeper, while preserving the ending. Even still, I’m not sure if Perfect State works better with or without the deleted scene. To be perfectly honest, I think the best way for it to work is actually for people to read the story first, think about it, then discover the deleted scene after they want to know more about what was going on.
Even as I was releasing the story, I became confident that this was the proper “fix.” To offer the story, then to give the coda in the form of Sophie’s viewpoint later on. It’s the sort of thing that is much more viable in the era of ebooks and the internet.
Either way, feel free to drop me a line and let me know what you think. Does it work better with or without the deleted scene? Do you like having read the story, then discovered this later? Am I way overthinking what is (to most of you) just a lighthearted post-cyberpunk story with giant robots?
Regardless, as always, thanks for reading.
Kind of a similar question about the Midnight Essence, now that we have seen that crop up in Tress as well as in Stormlight Archive. Is something similar happening with the Midnight Essence? We have also the nightmares, in Yumi, that appear similar, they're also mimicking things.
So, there's a couple of things getting interwoven here. The actual idea of Midnight Essence is a concept like Lightweaving that predates the Shattering of Adonalsium, that various magic systems are basically "borrowing" a law of the cosmere and creating a parallel effect from the same basis, if that makes any sense.
Yumi is a little distinct from that. It's feeling similar; I would not call it true Midnight Essence. It's an awful lot more like a Lightweaving that has--because Lightweavings can have mass to them, because investiture can have mass to it--so you're looking a little bit more like... imagine a bunch of Stormlight becoming tangible, you can touch it, because of a powerful Lightweaving or something like that. Of course, these things all bleed together because I'm using the same fundamental principles to make them. But, for me, Midnight Essence has this personality that comes prefixed. What the Midnight Mother is making, what you're seeing in the Midnight Sea and things like this, you're gonna get some similar personalities to these things, and not necessarily the same with the nightmares.
So it's more of a autonomous-- a Lightweaving that's become autonomous and has kind of broken down a bit?
Yeah... the problem is it's also got the Cognitive Shadow, right? It's a really invested Cognitive Shadow that is borrowing this Investiture to interact with the world. Because these are their shadows; these are their Cognitive Shadows, all of these people's Cognitive Shadows. But the power is not themselves. Remember, a Cognitive Shadow is a little bit like a fossil, like Vasher describes it. You've got this pattern there, and then the power kind of makes it manifest and be able to interact, and things like that. And, when that personality asserts itself with that power in the right place, you end up with a person that is the shadow running it. But at the same time, you've got this mass of power and energy that the machine is kind of controlling, which pulls back and overrides the personality sometimes. You've got a very weird set of circumstances going on here.
But it was very fun to figure out all the backstory and the behind on it, and get it all working. This one was a little complex, to get these things all working behind the scenes. I like how they turned out. Yumi, if you dig into it, it has both pluses and minuses. The minuses is - from the beta readers and the alpha readers - the ending for non-arcanists was really overwhelming, which is why we have those Hoid scenes where he's like, "Okay, let me explain." It seems pretty obvious, I would expect that this is, like, "Alright, Brandon needs to do better explanations, Hoid's just gonna do it." But, because of all the work I did behind the scenes on Yumi, Yumi matches kind of cosmerological magic system stuff in ways that a lot of the side projects that I do just don't. Yumi is very deeply intertwined and following all of these processes in a way that works really well for me. But it also gets you into where you start to need a master's degree in the cosmere to figure it all out, which is why to make it easier, we have Hoid just spell it out for people. It is a little clunky; I prefer the clunkiness to the previous version where you needed a master's degree in the cosmere to understand even what was going on.
Nightblood has more Investiture than any other being, right?
Not every other being, but definitely one of the most highly Invested individuals that we have seen.
So Nightblood, he was used to wound Odium. Is Odium now weaker than he was before?
Not in a relevant way. Technically, yes. Not in a relevant way. The amount taken, compared to how much there is, is pretty small. And a whole bunch of what happened there was focused on the Vessel, not on Odium itself.
Could Nightblood consume Odium?
Nightblood would get full before consuming even the smallest fraction amount of Odium. As you saw, Nightblood kind of got full in that instance. Actually, it was with the perpendicularity, it would be similar to that. So for those who are wondering, no, you can't stab Nightblood into the planet and absorb the planet. Nightblood is really dangerous, as we've seen, but we're not talking "absorb planets" dangerous.
Is Cultivation's Shardholder still alive.
Good question, what do you think?
I want to say, but that's based on my knowledge before I read Lift's interlude from Words of Radiance. Now I am leaning towards no. Based on that interlude, it looks like spren have essence from both Honor and Cultivation. It's almost like they exist in a spectrum, on one end of which is Honor, and on the other - Cultivation; so there are spren that are, for the lack of better example, 90% Honor and 10% Cultivation, and there are spren that are 15% Honor and 85% Cultivation.
That's a very astute observation!
And since we know that Honor is Splintered, then it might be the case that Cultivation is also Splintered, and their Splinters form the spren.
