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dalici0us

Sigzil sound and feel like a totally different person from what we've seen of him in Stormlight now that he has lived a (presumably) very long life and seen a lot of the Cosmere. How do you balance consistency with what was shown of him in prior books with centuries of off-screen character development to avoid making it feel like he is just a brand new character with some name recognition?

Brandon Sanderson

This is a balancing act. That's actually a really excellent question. And it depends on how long the person has been gone. Like, I did a time jump between books 3 and 4 of Stormlight. And so, wanted some thing to have happened and some character development to have occurred to characters, but that to be very slight and them to be mostly still who they were before. But you can't skip a year and have people be exactly the same. I felt like with this one the length of time between was really relevant in the things that had happened to him. And so what I have doing with him is this balancing act of him frequently thinking about the person he used to be and seeing that person pop through. And that's the difference between just new character and what I'm doing with Nomad is, you will see the old him more and more as the story progresses, popping out in certain cases and places. He is the same person deep down, but he's been through a lot. I don't know if there's a science to this. It's just an art of saying, "Can I write someone like this, that has been through the things he's been and the time that it's taken and what would be the realistic way to do that?"

Questioner

neuroatypicals

Brandon Sanderson

Oh, my pleasure. She says that she has Asperger's and when she read the book The Bands of Mourning, and the other ones that have Steris in them, she identified a lot with Steris. I appreciate that.

Questioner

Brandon Sanderson

What research did I do, did I talk to autistic people. I have several people in my life who actually have Asperger's specifically, and they were a huge resource, as you might imagine. One of the things that I like to do, kind of a mandate I have in my fiction, is to try to get people who are heroic who have different types of psychology than we usually see in heroes. Because the more I've lived in life, the more I've realized that we all are really distinctive in our own way, and our psychology all works differently. And yet we see a lot of heroes that all kind of have the same brain chemistry, it seems. Which has always felt really weird to me. And so it's kind of one my mandates to do that.

What research did I do? When I was in college, one of my favorite things to do was sneak into classes I wasn't signed up for, and the psychology classes were my favorite. This friend, who coincidentally was the one who wanted to be a chef, actually got a psychology major. His parents were "You should do something useful with your life." and so he got a psychology major, which he ended up going to med school. He didn't become a chef, he went to med school. He likes that too. But I would sneak into his classes and they were so useful as a writer, just listening to the different types, and to start to see personality not as-- We like to look at a lot of things as being normal or abnormal, but that's not the way it is. Everyone's personality is on this interesting spectrum and what is normal and what is abnormal is completely a matter of perspective. Where you stand on this line as opposed to-- It's like trying to make a value judgement that shouldn't really exist. And to come to see these personalities as great swathes of interesting color is what the psychology classes taught me. And so there was that and I did do some specific research for Steris and then I interviewed people as well.

I'm glad that you picked up on it without me ever having to say what she was, and things like that. That's when I really feel like I've nailed something, when you can read something and say "Yeah that's who this person is" instead of someone outside pointing and saying "this is who this person is, who they are"

Patrick

The issue of faith, religious or otherwise, is often a theme in your writings. How has faith influenced your life and development as a writer?

Brandon Sanderson

Another very astute question. I am a person of faith. It's been interesting for me, in my life, to be a person of faith and also a person of reason. I have a science background; I like to ask questions; I like to think about questions. I think everyone has to find their own balance in this area. Some people decide they're going to be reason only, and some people decide they're going to be faith only. But I think there can be a balance, and I try to find my own balance in my life. I feel it's one of the most engaging and interesting aspects of life. It leads to a lot of pondering, a lot of thinking, and a lot of personal development. It's mostly just me finding out where I'm going to let faith reign and where I'm going to let reason reign, and whether I have to let one be suborned to the other.

Faith is very important to my life. It's very important to my worldview and my philosophy. I believe that throughout the history of mankind, for the vast majority of people faith—or reacting against faith—has been important. I'm fascinated by the different ways people deal with it. I had in the Mistborn series a notable agnostic character, and I really wanted to have an atheist character in the Stormlight Archive. Whenever I approach something like that I try very hard to give that character the arguments that a person with their worldview would give that character if they were writing the book. I don't want to write books that exist simply to prove certain characters wrong. I include such characters because they fascinate me. You end up, hopefully, with a range of people in my books who approach faith in different ways—because that's interesting to me, and I hope it will be interesting to readers.

Dustin

Your sidekick characters (Nightblood, TenSoon in WoA and Syl) are always interesting, sometimes more so than side characters. Is this planned out or does it just happen? Do you control their lines more than other characters? (I really liked Syl's personality if that wasn't clear.)

Brandon Sanderson

Thank you. That is partially intentional. One of the aspects of writing characters like them is that if we're not going to get viewpoints from them, their personality has to be strong enough to manifest externally. Which tends to have an effect, if it's not done well--or sometimes even if it is done well--of making them feel one-sided. In some ways I play this up; for instance Nightblood really is one-sided because of the way his personality works, the way he was crafted. He's a construct, and he has a main focus.So with someone like Syl, I really wanted to bring out a lot of personality in her dialogue so that we could characterize her without having any of the internal thoughts and monologue and emotions that I sometimes instill in other characters. But Syl also was meant to be a vibrant splash of color in Kaladin's sometimes dreary viewpoints. Because of that, I really needed her to just pop off the page. So it was done intentionally.

Coachdorax

Did you write Amaram as an opposite of Dalinar or was he simply a bad guy meant to spur Kaladin?

Brandon Sanderson

I meant Amaram to be the representation of the corrupt side of the Alethi. Meaning they are all talk and very little heart. Very little of what they say, to the worst of the Alethi, gets to who they really are. They would rather be known as someone honorable than be actually honorable. And this I consider a major problem with their society, and I needed somebody to represent this. Part of it is, to represent a contrast to Kaladin’s ideals. This belief that lighteyes were these paragons of virtue. But I also needed somebody, you may say an opposite to Dalinar. In a way, he is an opposite to Dalinar, but more he just represents Alethi society. And I did want it to be that he wasn’t just all the way corrupt. When he makes his decision in Book One in the flashbacks, he is making a decision. There is a moment where he is considering. By the time you are seeing him in later books, that decision has taken him down a path that leaves him very far from any sort of redemption. But it was a choice. And he wasn’t just corrupt from the get go. But yeah, he represents what I feel would be bad about Alethi society. A kind of honor society that is more about looking honorable than being.

Herowannabe

What happens when a blind person burns Gold- especially of he "sees" a version of himself that isn't blind? Can he see the other version or just hear/feel/sense him? What about the other version, can it see things? Could a blind person use gold in this way to see the world around him?

Brandon Sanderson

A blind person would indeed sense these things, but not have the vision with the eyes. In the same way that a blind person still dreams, but doesn't "See" in them. (As I understand it.) I'd suggest talking to someone who is blind and getting their take on how this would work.

FeatherWriter

I'm super psyched about the Rlainarin reveal that we've had recently. It was one of those things that reading Rhythm of War I'm like "Oh wow! There's a lot of cool chemistry here. And I don't think it's ever gonna be canon, but I'm gonna just love it quietly in my heart and tell other people that I think it's cool." And then finding out...

Brandon Sanderson

It goes back to Oathbringer too if you go back to Oathbringer.

FeatherWriter

It has! The scene in Rock's point of view. I'm just so glad it's actually happening. It warms my little Renarin loving heart.

Brandon Sanderson

Yep. I looked for a place to get it into this book, I actually wrote scenes that "should I put this in this book?"  and they're like "No, if it will feel clunky just do it in book five." 

FeatherWriter

I think it was there enough, that a lot of us readers, got that the chemistry was there, and it could work very well.

Chaos

I think you can really do it justice, doing a same-sex relationship and do it really well. 

Brandon Sanderson

Well having two viewpoint characters - that's kinda one of my go-tos, right? To avoid tokenism, try to make multiple characters who think differently. One of the worries was: with Renarin being autistic, I don't want to conflate these two aspects of his personality. But having Rlain there lets me have diversity among a given representation in a single book. Just way more comfortable for me to write, because it lets me make sure that I'm making people their personalities, and not their defining attributes. Kaladin has depression; Kaladin is not depression. And that's a really important thing.

If its something that I'm less familiar with personally, it's more important that I have a variety of viewpoints. Even if its something like making sure that Jasnah is atheist and Kaladin is agnostic. And that I'm approaching their different worldviews from their personalities rather than as a cliché of some sort. 

Stormstoyou

The Third Bondsmith Ideal that Dalinar swears in the end of Oathbringer. About taking responsibilities and becoming a better man. Is it the basic Ideal for ALL Bondsmith or this is Dalinar’s personal interpretation of the Ideal?

Brandon Sanderson

This is Dalinar's personal interpretation, but ideals for a given order do have similar themes person to person.

Questioner

Also about The Reckoners, just out of curiosity, David's metaphors, so amazing, did you write them all? Was there a time when you had friends come over and say, "I have a crazy great metaphor, you have to use it for the book"?

Brandon Sanderson

For those who don't know, The Reckoners are told first person viewpoint from the viewpoint of a man named David, and though he tries hard, his metaphors and similes are awful. He says things like, "She was as perky as a sack full of caffeinated puppies." And the reason for this is, number one, the material itself is kind of dark. A world with no heroes could be a very, very dark place, so I knew I wanted a hero who was optimistic despite this, but David's main personality attribute is that he is a little too earnest. He tries a little too hard, and doesn't always think before he does something. So, I wanted a personality trait that quickly and easily reflected and indicated this to the reader, and the way that his metaphors don't quite work, but almost do, was the perfect method of conveying this. When he says things like, "You are a potato in a minefield," it doesn't make sense until he explains what it means. That, for instance, he was walking through a minefield, stepped on something he thought was going to kill him, and it turned out to be a potato instead. And then it's like, "Hey, free potato!" When we do this, it allows you to see that he is just speaking a little too fast, that his heart is right, and somewhere between his heart and his brain and his mouth, the wrong thing comes out. So, I guess what I'm saying is, the bad metaphors are actually a good metaphor for David's personality.

darniil

So, I was thinking how the third trilogy was mentioned as being in the future (as opposed to the second trilogy being contemporary to our time), and I wondered if the people from Scadrial would be able to visit the other shardworlds without using Shadesmar - and, if so, how would they do it?

The simplest (and most boring, and not germane to the topic) method would be FTL travel.

But then I got to thinking about Pulsers and Sliders.

My first thought was, "Hey, what if a bunch of Pulsers - or some Pulser-inspired technology - could put a bubble around the crew quarters of a starship? That would allow the crew to travel from one system to another within their own lifetimes." Just put the ship on autopilot, power up the Pulser Engine, and go have a sandwich.

Then I tried to figure out if something similar might work for Sliders, but the first bump I hit was that bendalloy bubbles - and cadmium bubbles - were stationary. Which, in turn, would probably rule out the Pulser starship.

But then I thought some more. These books take place in a universe which is, astronomically, pretty much like our own. It follows the same rules of physics. Which means that Scadrial is rotating on its axis, while it revolves around its star, while that star moves within its galaxy, and that galaxy moves within its universe.

Which means, technically, bendalloy and cadmium bubbles aren't stationary. They're stationary relative to one object - Scadrial - but they're perfectly mobile when one looks at the bigger picture.

This makes me think that a Pulser starship might be possible, provided the Pulsing can be anchored to the ship rather than Scadrial.

It also makes me wonder why the default anchor is the planet and why nobody has figured out how to anchor it elsewhere. Is it simply a mental block that could be overcome? Is a person too small to be used as an anchor (even though the bubbles pop up with the person at the center)? Can a bubble's size be altered, dependent upon the size of its anchor? (That is, could a small bubble be made around, say, a person's heart if the whole person were the anchor?)

I still dig the idea of Allomancers Iiiin Spaaaaace!, though I'm not entirely sure how it would work.

Catalyst21

[Links out to WoBs about Metallic Arts FTL being a thing]

So FTL is confirmed

Peter Ahlstrom

There's an issue with conservation of momentum with speed bubbles.

Evelyn Basher

Have you ever written something you regret because it misrepresented your personal values in books?

Brandon Sanderson

An example of violence being over the line actually got cut. This comes from Oathbringer, and it's during one of Dalinar's flashback sequences. And there is a sequence where, to not give too many spoilers, he ends up trapped beneath an avalanche of stone. And I wrote a scene where he comes out, he is consumed by the Thrill, and he goes to town on the people who are trying to kill him in some really graphic ways. (For me. Like, nothing maybe compared to what George [Martin] will write. But for me.) Man, there were heads being crushed, and stuff like this. I wrote this, and it was the mindset I was getting into, being Dalinar. And I got done, and I actually didn't come back to it until I was in the writing group, and the writing group was like, "Woah. We know Dalinar was brutal, but Woah! Do we have to see all this?" And I thought, "Wow, no. We don't have to see all this. I'm gonna trim that down." I can still release it online, if people want to see it. We'll try to get Adam to get a deleted scene of that put up, if you really want to see Dalinar go to town on a bunch of people. But, in this case, I'm like, "This just felt wrong" when I was going back to it. I went over a line I didn't want to cross in the level of brutality in the book. And this is not to be a commentary on anyone else's lines. You may hear this and be like, "Oh man, I wish that were in the book." But the books are a representation of what I want them to be. So, that's an example of when I went over the line.

I do think the initial painting of Ash, in the front of Oathbringer, ended up... her clothing ended up being more transparent than I had realized when we were looking at the artwork. We asked a bunch of artists to paint, for the Heralds, basically the version of Sistine Chapel that might exist on Roshar, the ten Heralds represented instead of the prophets at the sides of the Sistine Chapel. And Dan Dos Santos is an amazing artist, and he painted an amazing picture of Ash, and I saw it, and Isaac's like, "Do you think this is a little too risque to put in the front of our book?" And I thought, "No, I don't think it is," because I was looking at the slit on her dress, and I'm like "Ah, it's fine." I wasn't realizing that he was saying, "Hey, this is transparent, and you can see kind of more than perhaps you might want to be seeing." And the book came out, and people were like, "Hey, why is there a naked woman in the front cover of your book?" Now, again, some of you may be saying, "Really? Brandon, that is super tame." And this all kind of depends on your own worldview, and things like that. I remember hearing a cool story once about speeding, where a comedian said, "Isn't it funny that anyone going slower than you is someone you're like, 'That's such a slow person! How come they can't just go the right speed? That person is terrible!' But anyone who passes you? You're like, 'That person's a maniac. Look at how fast they're going!' It doesn't really matter how fast you're going. You're still going to have this inclination that anyone going slower than you is obstructing the flow of traffic, and anyone going faster than you is a maniac that is going to cause bodily harm to everyone around them." Obviously, not 100% true. But it rang true with me. And I feel like that's how this sort of thing goes. And for me, Ash's outfit was too transparent. And we talked to Dan and said, "Can you just make the dress a little less transparent." And he's like, "Oh yeah, sure, absolutely." Had no problem with it. And in the second printing, the dress was where we would like it. Which still, to some people, is probably too transparent. And to other people, you're like, "You silly Mormon. Why do you even care about this?" But it is part of my moral compass, and so I want to release the books where I feel comfortable.

The Dusty Wheel

I still have some left over resentment about Dalinar. It's not that I don't see redemptive arcs as very powerful, it's not that I don't recognize that there is some notion of redemption there for him. But it's not like he's out there like, "I am this redeemed person, and I am so much better." I like that there's still kind of an honesty and an awareness on his part. But I still do struggle with him, and I know he's kind of a favorite of others. How often do you kind of run into this reaction to him among fandom? Is this something that a lot of people are expressing to you? Or do you just kind of generally get, like, "Dalinar is the best"?

Brandon Sanderson

No, everybody has characters they connect with better than others. And I would say that it's a fairly even split between Shallan, Dalinar, and Kaladin. Depends on the forum you visit. If you go to a predominantly, like... Reddit has a certain demographic. They do tend to like Dalinar more. But from fan mail I get, and things like this, I'd say it's about an even split who they like. And almost always, someone's gonna have one they just don't connect with. But they're fine reading about. But it doesn't click for them. It's just not their thing.

And it's totally legit, by the way. Dalinar burned the city down! You can have a redemption arc, right. But that's always bothered me. I love Star Wars, but Darth Vader blew up a planet. There's redemption arcs, and then there's "You blew up a planet!" And Dalinar's experience is even a little more personal, even though less catastrophic, because you see him do it in the books. And that's not the sort of thing that I want you to feel like you have to forgive him for. This guy was a warlord. And part of it is me kind of dealing with the fact that a lot of our famous people from history that we laud, a lot of our greatest moments in history, have these dark sides to them, right? We talk about America in World War II, and it's like, the Greatest Generation. And I don't want to downplay the contributions of those people. My wife's grandfather served on a ship in World War II and almost sank, his ship got torpedoed the day after he got off for sick leave. But at the same time, we did nuke two cities full of civilians. And that's the most dramatic, but not the worst atrocity that we committed. And that's something that you can't just ignore.

Dalinar has several distinct flaws, even still. He's bad at delegating. He is set in his ways and he is a monarchist. He believes in the kind of "Great Man Theory" is what they would call it. This is what the guy who does Hardcore History, Dan Carlin, talks about, this idea that "Great Men change the world." And a lot of historians say this is kind of a fallacy. Dalinar believes in that. He believes that a strong king is required for a government to work. Which is very at odds with our modern philosophy, and I agree with our modern philosophy. I do not agree with Dalinar. I do not agree that a king is better than a ruler with more limits. I'm glad we have a president, and not a king. But Dalinar, he's all on board with this idea of "Great Men have to change the world." And he would say "men," when we would be like, "Are you sure it has to be men, Dalinar?" He is a person, is what I want to write him as being. And some of those things are gonna rub you the wrong way. And I hope that my characters learn and grow in lots of ways, but there are some things that are aspects of their personality that are just who they are.

Anushia Kandasivam

Vin stands out to us at the Pixel Project because she went through a lot of abuse in her young life, physical and psychological, at the hands of family and people that she should have been able to trust. She is a survivor, and with the help of her new friends she eventually finds self-worth, she realizes she can overcome her past trauma, she grows as a person. The question is, why did you decide to write a character with this kind of background, and what kind of research did you do to write the character who is an abuse survivor?

Brandon Sanderson

Yeah. So, two part question. First up: How and why did I decide. There are two main parts to this. One is, I knew I was writing in the world of Mistborn, a very less than perfect society. Let's just put it at that. The pitch for myself was, what if Sauron had won? What if you had to grow up in Mordor? I felt that if I had a character who was untouched by that, that the story would lack sincerity. If the only main character was someone who had somehow avoided that, there would be a certain-- like I said, lack of sincerity. There would be a certain, sort of-- I feel that, when you're writing stories, one of the things you should be looking to is to let characters who are part of a problem, solve the problem, rather than people outside the problem coming in to fix the problem. It's generally stronger storytelling, and generally more respectful of people who have had these life experiences themselves. So, I knew I needed someone who had been through a lot of trauma, because of the things we needed to change in this society.

The other part about it was planning-- I am an outliner, with my plots and my worlds and my characters, I discovery write. And oftentimes, what I'll do when I start a book is I'll start with multiple attempts at writing a person into that world. It's almost like I have a bunch of actors come in and try out for the part. I wrote three very different first chapters for that book, and the one that worked was the Vin you ended up with. What drew me to her as a character was the mix of strength and vulnerability at the same time, that she has. It's hard to explain why I came up with that, because really, as a writer, you're just kind of searching for someone whose voice works and whose soul matches that of the story. And it gets very mystical, for me, when you talk about characters, which I don't like, I like to be able to break things down, and talk about how it works and why I made the choice I did. But I made the choice of Vin because Vin was right. Part of that was, she was solving a problem that she had been directly-- that had directly affected her life.

How did I go about doing it right? This is where the best research that I get is reading the stories of people who are willing to share them with the rest of us. Reading firsthand accounts from people who are willing, because that takes a lot of bravery. It takes a lot of-- it's not something I could ever ask anyone to do, but it is something that people offer. On their blogs, and on forums, and spending your time listening to what people say, and trying to get the characters to express the way that these people would express it if they could write that character in their story, is one of my main goals. In fact, I think that's my prime mandate as a writer, is, try to write the characters like the people who have their life experience or beliefs would write them if they had my skill as a writer. And, so I spent a lot of time on blogs, I spent a lot of time on forums, and I wasn't ever posting on these, I was just listening. And then I made sure I had some good readers. Shallan has gone the same way. I can directly credit some very helpful beta readers who have had life experience similar to Shallan's, which have made sure, at least I hope I do this right, and always do better, that I'm walking a line between not sensationalizing, and not glorifying, but using this person's life experience to help them become the person that they want to become.

Anushia Kandasivam

And is that why we don't learn about the characters abuse on screen-- it's never on screen, it's always in their thoughts-- did you purposely write it like this because you didn't want...

Brandon Sanderson

Yes. This was very, very conscious. I feel like one of the biggest traps that writers in fantasy fall into, is using abuse of women, specifically, but all people who are in positions of lacking power, as a means of proving how bad your villains are, or how heroic your heroes are. I think that there are certain authors who are really good at doing this without making it a sense that this is how the world is. So it's not me pointing fingers and saying you shouldn't do that, but I felt that if I was to put it on screen, I don't think I could handle it without sensationalizing it. And by making it there, but never explicit, I think everyone knows it was there, I think everyone knows that Vin suffered abuse, but I could write a story that can deal with overcoming these things without having to sensationalize the thing itself.

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

I am very convinced that Adolin, with the events that happen with the last book. You're sending him down a like a dark path. Is he possibly going to be a-- *questioningly* Antagonist? Protagonist?-- A bad, eventually? Or is he--

Brandon Sanderson

I'm going to say this, the things that Adolin did do not contradict some of the moralities on Roshar, in fact they follow them directly. Some of the moralities on our planet would say what he did is the right thing to do. I think treating it as a "dark path" is too reductionist to say. There are people who would seriously argue, and they would have a good argument, that what Dalinar was doing by leaving Sadeas around was a good idea. And then there are other people who would say "You know what Sadeas did was a challenge and it was rightly then responded to" and then there are people who would say it was absolutely immoral. So, it depends on your philosophy.

What would Honor say? Well, Honor's dead, so-- *lots of laughter* You know Honor would not have been behind that action, but Honor's dead.

Questioner

If there is universal truth and it changes, does it make it not true anymore?

Brandon Sanderson

That depends on your personal philosophy. My personal philosophy is that there are capital-T Truths, and those don't change, though a lot of the things around them do change. And it is through discussion, conflict, and approaching the spiritual that we step closer and closer to. It's a very Platonic sort of concept, that we are approaching perfection through our imperfections mashing together. And so, Truth hasn't changed, but our understanding and our capacity to get closer to it does change. And that's a personal philosophy of mine. I bet I can talk to people who have a different personal philosophy, that I would find very interesting. But for me, I think that's an excellent question to ask. If it's capital-T Truth, it shouldn't change over time. But we do, and we're not always the best at determining what it is.

Khyrindor

You've said that Returned count as Cognitive shadows "stapled" back into their bodies, and that the Heralds are at least similar. Would I be right in assuming that Elantrians could be considered as Cognitive Shadows as well, or am I barking up the wrong tree?

Brandon Sanderson

Elantrians are something different. They don't actually "die" to be created.

Recognize that the term Cognitive Shadow is an in-cosmere theory, which I'm not going to comment on as the creator of the setting. The theory is this:

Investiture seeks sapience. It looks for someone to control it or, in some instances, spontaneously adopts personality.

A mind (Cognitive aspect of a person) can become infused with Investiture. This acts a little like minerals with petrified wood, replacing the mind and personality with investiture.

When the actual person dies, this investiture imprint remains behind. A copy of the soul, but not the actual soul.

Others disagree with this, and think the soul itself persists. Still others reject the theory in its entirety.

linkhyrule5

Huh.

... Kandra are almost literally stapled to their bodies with Hemalurgy - would they count as such, to the in-setting scholars?

Brandon Sanderson

No, they wouldn't. They are beings who have had their souls twisted by Hemalurgy--the soul never left, it's just been messed up. Someone else who has a soul stapled to a body with Hemalurgy would count though.

Nadine

Melissa, I think we have members from another forum joining us and they have information that we don't have. Maybe even advanced book information, like we know nothing about The Way of Kings and only heard about the book recently and know nothing of its content.

Could some of you newcomers introduce yourselves (maybe on our "Introduce Yourself" thread and not clutter up this one) and tell us where you are from? We love the information you are bringing and introducing on this thread but we are confused.

Brandon Sanderson

I posted on my website that I'd be doing this, and I don't often have time to interact on forums. (They are a delightful way to interact with readers, but have proven a HUGE time-sink for me in the past. As you might have noticed, I tend to write—and respond—in depth when people ask questions of me.) So I only appear on forums occasionally. Hence the involvement of those from my forums looking for some answers to questions.

Some backstory might help you all. I began writing in earnest in 1997. During those years, I shared the books I wrote with a group of friends. This group worked with me on The Leading Edge, a science fiction fanzine/semiprozine at BYU. Eventually, once we graduated, we founded the Timewaster's Guide, partially as a forum where we could hang out. (Tage and Ookla from the TWG forums—aka Ben and Peter—are among them, and are still very good friends of mine. Another easter egg is to watch how Ben Olsen and Peter Ahlstrom are treated in the acknowledgements of many of my books.)

The overarching story and theme of my books, what I wanted to accomplish as a writer, and how I approached the fantasy genre, all took shape during this time. These readers read many of my most important, and influential (on me as a writer) novels while in draft form. The biggest three of these during this era were White Sand, Dragonsteel, and Elantris. (On the tail end, I wrote—but never finished—the foundations of what years later became Warbreaker.)

The next era of my unpublished writing was when I worked on the worlds, stories, and themes that eventually became Mistborn, The Way of Kings, and a book called the Aether of Night. Many of my writing group friends have read these books, including the first draft of Kings (which is very, very different from the current draft.)

Anyway, these unpublished books are NOT canon yet. I don't canonize a novel until I publish it. But some of the hidden themes (including Hoid and Adonalsium) of my books are present in these novels. (Dragonsteel and Aether of Night are particularly connected—though of the unpublished Shardworld books, White Sand is probably the best written.) Again, none of this is canon yet. (For instance, I've taken chunks out of Dragonsteel to use in the revision of The Way of Kings.) However, these old books do contain clues that aren't available to the average reader.

Dragonsteel can be ordered through inter-library loan through the university library system. There are only four or five copies in existence. The BYU library has one (the book was my honor's thesis.) I believe the honors department has one. My thesis chair has one. (And maybe the committee has one, I can't remember.) I've got one in my basement. And I believe Ben's sister may have sneaked a copy out of the trash when I was cleaning out old manuscripts. (That might be White Sand.)

I do have intentions of rewriting these books and publishing them eventually. They each have pieces of the story. (Though I may decide to shift certain themes from one series to another as I eventually write and publish them.) I've been known to email White Sand or Aether of Night to readers who email and ask. (Though it does make me cringe a little to do so. In many of these books, I was experimenting with magic, theme, and narrative style—some experiments were a success, some were failures.)

Dragonsteel is frozen; I don't send it out any longer, as to not spoil the parts of The Way of Kings that I decided fit better in that world. So the only way to get it now is to borrow it from BYU. I've been told that Dragonsteel is the only undergraduate BYU honor's thesis ever to have been be read so often that it needed to be rebound. (A dubious honor, I'm not sure how I feel about so many people reading a book of mine that is that mediocre.)

Questioner

I personally love Wayne, the character. <Explain to me> what that inspiration was.

Brandon Sanderson

I wanted-- I started with a character who changed personalities when *inaudible*. And I kind of built out from that.

*interruption*

Questioner

Was there a personal... Was there a person who like-- that might have reminded you.

Brandon Sanderson

No. *inaudible* It was just that I wanted to write somebody who was a little more goofy. A little more interesting. A colorful character who would be a *inaudible*. Who could just be a representation that this is a little of a lighter world than we were in before.

Questioner

Why did Hoid in Secret History have to ride on another person to get to the Well, when that person could float on--

Brandon Sanderson

Sooo, what he's floating on is a Cognitive Shadow. It's a spirit, it's not an actual person. He is floating on someone who is--

Questioner

Do we know them?

Brandon Sanderson

You did not know them, don't worry about them. But see, he's using that as a boat because it's easy to sink through the mist. And if you notice, he has to coat his oar with Investiture in order to move him. So yeah, he's floating on a person's soul... It was so much easier with the Pits, but that's because there were boats and things.

Brandon Sanderson

Elend talks to Tindwyl, then returns to his room and puts his uniform on.

Elend's relationship with Tindwyl cracks me up. That is all.

During this conversation between the two Terrismen and Elend, I think Sazed speaks my philosophy on characters and writing. They have to do what is important to them. I don't like to advocate situational ethics, but in some cases, that philosophy is appropriate. If you're a Jew who follows Kosher, then you don't eat pork. (Among a lot of other things.) For that person, I think it is morally wrong to break Kosher–because you've made a promise to yourself and God that you won't. However, is it wrong for someone like me to eat pork? No. I haven't made that same promise.

The same goes for my LDS belief in not drinking alcohol. I've promised not to–but that doesn't make another person bad or evil for drinking. They haven't made the same promises I have. It's about remaining true to yourself. There's nothing inherently wrong with alcohol (Christ himself drank it, after all.) But there's something wrong with making a promise, then breaking it.

In this case, it was right for Elend to do what he did. Another king could be a good man and make the opposite decision without rebelling against his own personal morals. There are a lot of absolute rights and a lot of absolute wrongs in life, but there are far MORE rights and wrongs that depend on who you are as a person, I think.

Sazed, however, IS setting himself up for some difficulty later on with some of the things he says here. You'll see what I mean at the end of the book.

Steeldancer

The Heralds, back before Honor died, were they directly powered by Honor?

Brandon Sanderson

Yes. You’ll find out more about that, but the Shardblades [pretty sure he means Honorblades here] were pieces of Honor’s soul that he gave them and direct access to his essence.

Steeldancer

Like Vin and Elend?

Brandon Sanderson

Yeah, a little like that. That’s why Honorblades don’t work like Shardblades do, like Radiants do.

Steeldancer

The second part of the question is, what would happen if they were directly powered by Honor and they were holding Nightblood?

Brandon Sanderson

RAFO

Questioner

One of my favorite aspects of your books is you always have this character that kind of has a submissive personality starting out and they evolve into a more dominant personality. Do you have an author for a series that kind of inspired this?

Brandon Sanderson

Inspires me? He says frequently I have a character who's in a submissive position that becomes dominant through the course of the series. Do I have an author that I'm relying on specifically. No more than the "Hero's Journey", the general idea of the person growing and becoming master of their domain where once they were not. I don't think I have a specific person I'm looking at for that. But it is a fun type of story to tell, just because of the way you can show progression with a character.

Little Wilson

You mentioned that half(-ish) Shards are whole at-- during Shadows of Self. Is that counting Splinters?

Brandon Sanderson

Okay, one more time.

Little Wilson

You mentioned that half-- like I think it was at the Bands of Mourning release party-- you said that "half-ish Shards are whole" during Shadows of Self.

Brandon Sanderson

"Half-ish Shards are whole?"

Little Wilson

Yeah, you didn't want to do the math, because it was-- *interrupted*

Brandon Sanderson

Oh, I get it. You're saying-- Okay, so I'm sorry. I'm trying to think of Shards that are half-powered. That's not what you're saying. Half of the existing Shards. 

Little Wilson

Yes, yes.

Brandon Sanderson

Okay, got it. Yeah.

Little Wilson

And does that-- is that counting Splinters? Splintered Shards?

Brandon Sanderson

Um, no. I mean, a-- Splintered is one of the ways that they are not considered whole.

Zas678

Like completely Splintered as in Dominion and Devotion.

Brandon Sanderson

Yeah. That's what-- That's the opposite of whole.

Zas678

But having a Splinter, like Endowment...

Little Wilson

Because I-- I was kind of going with "Shattered" <and> "Splintered". So Shattered would be kind of what I was going with Devotion and Dominion. 

Brandon Sanderson

Okay.

Little Wilson

And then Splintered would be more like... You mentioned that Honor kind of Splintered himself off to create the spren before--

Isaac Stewart

Oh, and that's mentioned isn't it?

Brandon Sanderson

Right, but you've got to keep in mind that-- um... So in Scadrial, Ruin and Preservation did the same thing. Their bodies are part of the world. They-- if their exist-- like, the things on the Spiritual Realm don't matter where they are in relation to each other and things like this. All those <piece> spren are still Honor, when he was alive. Does that make sense? Like, yes those are little Splinters of Honor, but they are still Honor. It's not like he's diminished, because his whole essence is the world, right? There is no diminishing that. And so that thing is we're talking about the fracturing of the mind and the killing of the Shard. That's the distinction between whole and not whole as I was making it for you there.

Brandon Sanderson

So, a couple of things here. First off, I'll take any knocks I get--and try to do better. I'm not an expert on mental health, and though I do my best, I'm going to get things wrong. I'm going to risk defending myself here--and hopefully not dig myself deeper--as I at least explain my thought process, and why I built Shallan the way I did.

However, one of the rules of thumb I go by is this: individual experience can defy the standard, if I understand that is what I'm doing. Like how Stephen Leeds is not trying to accurately portray schizophrenia, Shallan is not trying to accurately portray dissociative identity disorder (if a scholarly consensus on such a thing even exists. I haven't glanced through the DSM5 to see what it says.)

In Legion, I have an easy out. I say, point blank, "He doesn't fit the diagnosis--he's not a schizophrenic, or if he is, he's a very weird one." I don't have the benefit of a modern psychology voice in the Stormlight books to hang a lantern on this, but my intention is the same. What Shallan has is related to her individual interaction with the world, her past, and the magic.

Is this Hollywood MPD? I'm not convinced. Hollywood MPD (with DSM4 backing it up, I believe) tends to involve things like a person feeling like they're possessed, and completely out of control. The different identities don't remember what others did. It's a very werewolf type thing. You wake up, and learn that another version of you took over your body and went out and committed crimes or whatever.

Shallan is coping with her pain in (best I've been able to do) a very realistic way, by boxing off and retreating and putting on a mask of humor and false "everything is okay" attitudes. But she has magical abilities that nobody in this world has, including the ability to put on masks that change the way everyone perceives her. She's playing roles as she puts them on, but I make it very clear (with deliberate slip-ups of self-reference in the prose) that it's always Shallan in there, and she's specifically playing this role because it lets her ignore the things she doesn't want to face.

She's losing control of what is real and what isn't--partially because she can't decide who she wants to be, who she should be, and what the world wants her to be. But it's not like other personalities are creeping in from a fractured psyche. She's hiding behind masks, and creates each role for herself to act in an attempt to solve a perceived shortcoming in herself. She literally sketched out Veil and thought, "Yup, I'm going to become that person now." Because Veil would have never been tricked into caring about her father; she would have been too wise for that.

I feel it's as close as I can get to realism, while the same time acknowledging that as a fantasy author, one of my primary goals is to explore the human interaction with the supernatural. The "What ifs" of magic. What if a person who had suffered a great deal of abuse as a child COULD create a mask for themselves, changing themselves into someone stronger (or more street-smart who wouldn't have been betrayed that way. Would they do it, and hide behind that mask? What would that do to them and the world around them?

DID is indeed controversial, but I really like this portrayal. Not of a disease, but of who this character is. And I've had had enough positive responses from people who feel their own psychology is similar that I'm confident a non-insignificant number of people out there identify with what she's doing in the same way people with depression identify with Kaladin.

Questioner

How do you decide what perspective you put it in? First person, third person?

Brandon Sanderson

A lot of it depends on the number of viewpoints I'm gonna have for a book. It's a pretty easy thing, but if I'm gonna have one viewpoint, I'll put it almost always in first. Not always, but almost always, because I can use the tools. Genre influences it also. First person's more prevalent in YA than it is in adult. And kind of, like, what tone do I want for it? Like, the first person book I'll do in the Cosmere, I probably won't do one until I do Hoid's book. Because he's the storyteller telling you the story. And the other ones, I want to be trustworthy, like the narration of which, even if a specific viewpoint is untrustworthy, the narration is trustworthy.

Cyrus the Not Too Bad

You are known for being extremely meticulous in planning out the structure and details of your stories before writing. That being said, are there any times you have come up with a new idea or plot point as you are writing and just went with it?

Brandon Sanderson

Yeah, it happens all the time. I am, as I've come to learn, relatively detailed in my outlines compared to a lot of my contemporaries. (I am not the most detailed; I think that prize probably goes to Kevin J. Anderson. His outlines tend to be just basically the book, but shorter.) If you've seen me talk about my outlines, there are a lot of bullet points in there and goals; I don't know exactly what's gonna happen in each chapter, I'll know what I want to achieve in each chapter, which is a little bit different. I'll know, "these two characters need to interact, this information needs to come out, and this event happens to end the chapter." I'll know things like that. However, as I'm writing, as you're putting the book together, as you're getting in the zone and really getting to understand how the book is feeling and flowing, you start to change things, just from the first chapter. Not even it comes out exactly like planned most of the time. And this is just a part of the process.

Now, I am an outliner, which means that when one of these things happens, I will often go with it, but I'll also be revising my outline. I'll take a little bit of time to just go with it and see how it goes, often. But a lot of times, I'm already working on my outline. I'm already saying "oh, this is a much better idea, this is working way better." Trying to remember... from a first book, a time where that happened. Famously, Adolin wasn't a viewpoint character in the original draft of The Way of Kings, but that didn't happen during the drafting, that was during the revision process, so it's not quite what you're asking.

The personality that Doomslug ended up having in Skyward was not something I had planned out. I just kind of went with it as it came along as I was writing. A lot of the personalities of the side characters in Skyward are a good example of this. Like, even Jorgen's personality is quite different from what I had imagined in the outline. This happens a lot with characters for me that I'm writing, and who they are becoming is a much different person than who I maybe imagined them. Until I write through their eyes, I'm not 100% sure who they are. And this is the big thing that throws my outlines off. I know that my characters are going to grow to become different people than I imagined when I started, and the outline just has to adapt to that.

Unless it goes too far. Some of my fans who were watching back in the time, I added a character to Warbreaker just kind of on-the-fly as I was working on the beginning. And I really liked this character, they were great. So I'm like, "Wow, I want to bring this character on the adventure." And I wrote them into a couple of chapters, because they were just fun to write, and it just ruined the other chapters. The chapters no longer worked in the structure I was making, and it was a worse structure, and this character being along was taking away from the sense of isolation, which was a major theme for Siri in that book. And I was posting these chapters online as I wrote them for Warbreaker. I just eventually said, "This character is no longer coming on the adventure" and pretended they hadn't been there in the next chapter I posted. That happens sometimes, too, where you just decide to edit something down.

Questioner

Other than finishing the Wheel of Time, with established work than you started with. Did you have any particular target audience or imaginary perfect reader in mind?

Brandon Sanderson

Yeah, myself. I'm basically the only person I can imagine 100% and say "This is the person this book is for." And I think that's what a lot of writers do. I'm fortunate in that what I write seems to have a lot of broad market implications. That's not what happens for a lot of writers. Like my friend Dan [Wells], the original things he loved to write did not have broad market implications, and they were really weird and fascination but not very marketable. He has since found some things that he loves that are. But I really feel like you should write what you love, and then explore finding a place to put that, as opposed to saying "What sells? What person am I writing for?"

So, my children's books will be for me at that age. My epic fantasies are basically, "What would I, as a reader of this genre, love to see right now?" Which is why we end up with something like Way of Kings which has a very steep learning curve, intended for the person who loves epic fantasy. This is the book for you, that's the book for me, if you've read a lot in the genre. If you haven't, I still hope you'll pick it up, but do realize that at the beginning, it's gonna take a lot more work to get into than you might expect because of who the target audience is.

Questioner

I was wondering if you had an inspiration for Cody.

Brandon Sanderson

For Cody, yes I did actually. I was at a convention in the South and I had someone, a guy, use y’all for "me", and I'm like, "Y'all for one person?" and he's like "Yeah, that's how you use it" for one person. *laughter* Really? And he just tried to convince me that this is true. So I went to wikipedia and they said there are some delusional people who use it that way. So I'm like, I'm totally building a character around this person who, you know, I couldn't tell the whole time if he was pulling my leg because I was not from the South, or if indeed that was his little regional dialect, that y'all is one person and all y'all was two, which is what he tried to convince me-- it is true? You say it's true?

Bystander

It's from Kentucky.

Brandon Sanderson

See I have gotten-- I have gotten more emails about from Southerners who say "You've committed the great sin for a non-Southerner by using it that way, and it's an abomination, and it's not true". And I'm like, wow I must have done something right. 'Cause they hate that. I'm getting it from the people from Atlanta, they're like "this is not-- this is not correct". You know, Charleston, where they're all like the hoity-toity Southerners. So anyway, yeah that's where Cody came from. That idea.

Doom-Slayer

So how do the exact mechanics of Feruchemy in relation to Compounding work?

This confusion is primarily around how [the Lord Ruler] gets his near infinite age.

Okay. So first off, I understand the concept of how they work. Feruchemy is net zero, Allomancy is net positive, combine them and you end with a net positive Feruchemy ability.

So how Feruchemy normally works... you take say weight, store half your normal weight and then you can access it whenever you want. So you (originally X weight) are taking A weight, storing it, and then you are at (X-A) weight, with access to A. So we have a metalmind that store magnitude with the efficiency of how its received based on how quickly or slowly it is drawn upon.

All the metalminds except atium seem to act this way. Atium seems to work as storing magnitude/time rather than just magnitude. The way I understand it is that say a 30 year old person becomes 50 years old for 1 day, this would give access to 20 years difference for a 1 day period.

The Lord Ruler then exploits this by gaining access to say 20 years difference over 10 days (magnification by Compounding) which he then slowly feeds into himself to lower his age.

Why this difference? I'm assuming its to maintain a neutral "body age" because with just magnitude a person could permanently make themselves younger by Compounding.

With just magnitude of "20 years of youth" being stored, if the Lord Ruler magnified it, he could turn it into "200 years of youth" and then he would never need the constant stream off youth (and wouldn't have died without the bracelets)

Hope this makes sense.

Brandon Sanderson

All right, so there are a few things you have to understand about cosmere magics to grok all of this.

First, is that magics can be hacked together. You'll see more of this in the future of the cosmere, but an early one is the hack here--where you're essentially powering Feruchemy with Allomancy. (A little more complex than that, but it seems like you get the idea.)

The piece you're missing is the nature of a person's Spiritual aspect. This is similar to a Platonic idea--the idea that there's a perfect version of everyone somewhere. It's a mix of their connections to places, people, and times with raw Investiture. The soul, you might say.

(Note that over time, a person's perception of themselves shapes their Cognitive aspect as well, and the Cognitive aspect can interfere with the Spiritual aspect trying to make the Physical aspect repair itself.) Healing in the cosmere often works by aligning your Physical self with your Spiritual self--making the Physical regrow. More powerful forms of Investiture can repair the soul as well.

However, your age is part of your Connection to places, people, and times. Your soul "knows" things, like where you were born, what Investiture you are aligned with, and--yes--how old you are. When you're healing yourself, you're restoring yourself to a perfect state--when you're done, everything is good. When you're changing your age, however, you are transforming yourself to something unnatural. Against what your soul understands to be true.

So the Spiritual aspect will push for a restoration to the way you should be. With this Compounding hack, you're not changing connection; it's a purely Physical Realm change.

This dichotomy cannot remain for long. And the greater the disparity, the more pressure the spirit will exert. Ten or twenty years won't matter much. A thousand will matter a lot. So the only way to use Compounding to change your age is to store up all this extra youth in a metalmind, then be constantly tapping it to counteract the soul's attempt to restore you to how you should be.

Yes, all of this means there are FAR more efficient means of counteracting aging than the one used by the Lord Ruler. It's a hack, and not meant to be terribly efficient. Eventually, he wouldn't have been able to maintain himself this way at all. Changing Connection (or even involving ones Cognitive Aspect a little more) would have been far more efficient, though actively more difficult.

Though this is the point where I ping [Peter Ahlstrom] and get him to double-check all this. Once in a while, my fingers still type the wrong term in places. (See silvereye vs tineye.)

Questioner

Is there a orbitary range limiter placed on the powers of an Epic, or does it vary from person to person?

Brandon Sanderson

It differs from person to person.

Questioner

So, for Chicago, what was the range of the city turning into...

Brandon Sanderson

I've got it in my notes. It was basically enough to get me to Soldier Field, because that's where *inaudible*, does that make sense? I thought we'd go to Soldier Field, and then a little ways.

Questioner #1

Like a mile?

Brandon Sanderson

It's a bit more than a mile, it's a couple miles. But the guy who said "7 miles" and I'm like "Yeah, you could be in danger".

Argent

The question is, where was [Steelheart] standing when did [the Grand Transfersion].

Brandon Sanderson

He was in a bank that I actually looked up, that was in downtown, and I changed the name of it. [...] The problem was, it went that far into the lake as well, and I wanted to get a good chunk of the lake, but not like, you know... and so, it's probably like four mile radius or something like that, so the seven mile radius guy is probably okay. I wanted to get downtown, Soldier Field, a little bit beyond...

Questioner

Chicago proper.

Brandon Sanderson

Yeah.

Dan Wells

Sixth Epoch, Year 31, Vevishach 4.10.3.

I begin this journal with no small amount of trepidation. That Master Hoid himself would ask me, Senne Khald, a brand new apprentice Worldsinger, to begin a treatise on the Radiant Orders, is so unexpected it boggles the mind. I shall do my best to fulfill his expectations.

These first few entries will be my thoughts only. A more complete description of each Order will come later. But what intrigues me the most as I begin this project are not the powers, but the personalities of each Order. How are the members of each Order different from the members of the others? What kinds of personalities does each Order attract? This is especially interesting in cases where some of the personalities seem to overlap. Why choose one Order over the other? How do you differentiate their similarities? This is where I will focus my initial writings.

Windrunners

Is there any greater hero than the Windrunner? The Windrunners certainly don't think so. And, to be completely honest, they kinda have a point. This is the Radiant Order that protects the innocent, upholds the virtuous, and defends the defenseless. Also, they can fly, which I was going to leave off of my list on purpose to bother them. But scientific accuracy is, I suppose, more important than what I do. Which is pestering the pompous.

Oh, here's a good bit of scientific detail: how can you tell if someone is a Windrunner? Answer: they'll tell you. In practice, Windrunners tend to be equal parts heroic and insufferable. They're always out doing things: scouting, fighting, flying, training. And it can be exhausting just listening to their schedules. They tend to take on more squires than most, which means there are a lot of them. And they can't just have normal friend groups like a normal person; it has to be organized and official. They group themselves in squads and call themselves soldiers. They're aggravatingly good at things, but also just aggravatingly good. And sometimes I just think, "Get over yourselves, right? Nobody needs to be this righteous and serious and good-looking all the time."

Now that I read back over this, it may be that I'm being a little unfair to the Windrunners. They're not really obnoxious, they're just formal and efficient, which I find to be obnoxious. They're also intensely heroic, and we would be lost without them. I will endeavor to be more unbiased in my future journal entries.

Brandon Sanderson

These [Secret Projects] all have a different style of voice. One and Three are the most similar, but even they have... like, I did a different type of voice. To give you an example: one of them is in first person, and the other three in third person. But even the third persons are different from each other in the way I'm doing the third person. That's a little bit different: doing some things I haven't done before or I haven't done in a long while.

m4ge

If a Splintered Shard is somehow reformed, is it possible to change the word that expresses its Intent?

Brandon Sanderson

Yes, but that's a very implausible thing depending on how... so, you're getting into some weird Cosmere stuff here. Most of the ways that these different Shards could manifest could be described differently. Odium is trying very hard to describe his Shard as something different, and there's an argument there. But it depends on if you're like actually changing it or if you just want to call it something different. You could just call Odium Hatred and it's not going to change anything, but if you wanted to change Odium to mean Passion like Odium thinks that it means, then that's more difficult.

Peter Ahlstrom

OK guys, help me out on this.

Let's take a bubble where time is sped up inside, maybe to 10x, maybe to 100x. I'm thinking that if there is no light source inside the bubble, but all light comes from the area outside the bubble, to an observer outside the bubble all light that goes inside and gets redshifted will get blueshifted back the same amount when it exits the bubble. So the outside observer won't see a color change at all. (I'm ignoring refraction for the purposes of this post, but someone else may elucidate.)

The person inside the bubble will see a redshift of all light coming into the bubble--but will also see far fewer photons per second, so the world will go dim or even black.

At low time-speedups, the person in the bubble will see UV light shifted into the visible range, so will start effectively seeing in UV. At very fast speeds he can see X rays or even gamma rays. (I don't know from Brandon what the max speedup is.)

If the person inside the bubble turns on a flashlight, this will be shifted into the UV or X-ray range when it leaves the bubble. You can fry everyone around you with deadly radiation this way.

When you have a bubble that slows time, the opposite happens. People inside can see in infrared or radio waves. And if they go slow enough, visible light from the outside is shifted into the X-ray or gamma-ray range and the person inside gets fried by radiation. If they turn on a flashlight, people outside get cooked.

Can anyone point out flaws in this analysis? Does anyone have magical suggestions for why any of these things wouldn't happen?

For practical reasons it looks like there will need to be a lot of handwavium burned.

Questioner

In terms of books that you wish you could have written yourself?

Brandon Sanderson

I read a lot of things for pleasure. I think I need to stay up on what everyone else is doing. As a teen, my favorite writers were Anne McCaffrey, Melanie Rawn, Barbara Hambly, Robert Jordan, Tad Williams, it would probably be. David Eddings too. I grew out of David Eddings, happens when you get into your twenties, but during my teens he was the bomb. Do kids still say that, the bomb? I'll have to figure out what they're saying now. Nowadays I read Pat Rothfuss, I really like Pat, I really really like Naomi Novik's Uprooted, if you guys didn't read that this summer it's a fantastic novel. I like Brent Weeks' work a lot, Brian McClellan's, Nora Jemisin, you guys read NK Jemisin? She writes very literary fantasy; if you're an English major and you like that kind of stuff, which I do, it's amazing. Her most recent one has a character who writes in the second person, and it works. It's the first time I ever read a book where the second person, which is you do this, you do that, it actually works, it works really well. The second person past tense, so you did this, you did-- it's a person telling themselves a story so it actually, it really works. The Fifth Season. So, yeah, I read a lot of stuff.

Questioner

What character have you written that you felt is most inspired by your own personality?

Brandon Sanderson

My mom says it's Alcatraz, my middle grade series, is most like me so I trust her. Other than that, it's hard for me to say. You have to go to my friends and things. I feel like ever character's part of me and every character's not. Stephen Leeds, from the Legion series, has a lot of writer-ish stuff in it. Particularly the last of the three if you've ever read that one. That was kind of a very personal book and it was getting into kind of the way... So maybe Stephen Leeds as a middle manager. I feel like a person who's controlling all of these characters. Rather than this person having the adventures, I'm keeping them organized.

Iceblade44

So White Sand [then Elantris] is earlier... Then how the heck old is Khriss then? Will we ever get an answer as to why every worldhopper is flippin' immortal?

Brandon Sanderson

There is some time-dilation going on. I'll explain it eventually; we're almost to the point where I can start talking about that. Suffice it to say that there's a mix of both actual slowing of the aging process and relative time going on, depending on the individual. Very few are actually immortal.

Faera

Implying that some are actually immortal? :D

Brandon Sanderson

Depends on which definition of immortal you mean.

Doesn't age, but can be killed by conventional means. (You've seen some of these in the cosmere, but I'll leave you to discuss who.)

Heals from wounds, but still ages. (Knights Radiant with Stormlight are like this.)

Reborn when killed. (The Heralds.)

Doesn't age and can heal, but dependent upon magic to stay this way, and so have distinct weakness to be exploited. (The Lord Ruler, among others.)

Hive beings who are constantly losing individual members, but maintaining a persistent personality spread across all of them, immortal in that as long as too much of the hive isn't wiped out, the personality can persist. (The Sleepless.)

Bits of sapient magic, eternal and endless, though the personality can be "destroyed" in specific ways. (Seons. Spren. Nightblood. Cognitive Shadows, like a certain character from Scadrial.)

Shards (Really just a supercharged version of the previous category.)

And then, of course, there's Hoid. I'm not going to say which category, if any, he's in.

Some of these blend together--the Heralds, for example, are technically a variety of Cognitive Shadow. I'm not saying each of these categories above are distinct, intended to be the end-all definitions. They're off the cuff groupings I made to explain a point: immortality is a theme of the cosmere works--which, at their core, are experiments on what happens when men are given the power of deity.

Shagomir

Heals from wounds, but still ages.

Would Bloodmaker Ferrings exist in this category as well? If not, what about someone Compounding Gold?

Brandon Sanderson

Yes, you are correct.

Shagomir

As a Bloodmaker ages, what keeps them from healing the damage and carrying on as a very old, but very healthy person? Do they come to a point where they can't store enough health to stave off the aches, pains, diseases, and other things that come with old age?

This makes sense for traditional Feruchemy as it is end-neutral, so storing health becomes a zero sum game - eventually, you're going to get sick and you're not going to be able to overcome it with your natural healing ability no matter how much you manipulate it with a goldmind.

...Unless you've got a supply of Identity-less goldminds lying around. Would a Bloodmaker with a sufficient source of Identity-less goldminds (or the ability to compound, thus bypassing the end-neutral part of Feruchemy) eventually just die from being too old?

Brandon Sanderson

Basically, yes. They can heal their body to match their spiritual ideal, but some things (like some genetic diseases, and age-related illnesses) are seen as part of the ideal. Depends on several factors.

cinderwild2323

What is the biggest change you've made based on alpha/beta reader feedback? (This goes for any of your books)

Brandon Sanderson

Probably adding Adolin as a main viewpoint character in the first book, which was done because I had trouble striking the balance between Dalinar worrying he was mad, and being a proactive, confident character. Worried better to externalize some of the, "Am I mad" into his son worrying "My dad has gone crazy" while letting Dalinar be more confident that his visions were something important. (I still let him worry a little, of course, but in the original draft, he felt temperamental from vacillation between these two extremes.)

Bringing Adolin to the forefront in the books has had a huge ripple effect through them, as I've been very fond of how his character has been playing out.

Enasor

May I ask why you choose to use Adolin as the viewpoint character to supplement Dalinar as opposed to Renarin? My understanding is Renarin has always been the "most important brother" within SA, which made me wonder why, based on the beta readers comments, you ultimately decided to use Adolin and not your established character to bring forward the dilemma.

I am, obviously, extremely fond of how Adolin has been played out so far and while I have no idea where he is going (but zillions of theories), I am curious to know what his initial purpose in the story was. Did you draft the character's personality just for WoK's needs or did you have an idea of what to do with him when you made the change?

Brandon Sanderson

I was well aware that I needed certain things about Renarin to remain off-screen until later books, and him being a viewpoint character early would undermine these later books.

Adolin is a happy surprise and works exactly because he doesn't need to be at the forefront, even after I boosted his role. With Adolin, what you see is really what you get, which is refreshing in the books--but it also means I don't need huge numbers of pages to characterize him, delve into his backstory, etc. He works as a side character who gives more to the story than he demands pages to fullfill that giving, if that makes sense. Renarin is more like a pandora's box. Open him up, and we're committed to a LOT of pages. (Good pages, but that was the problem with TWOK Prime--everyone was demanding so many pages, from Renarn, to Jasnah, to Kaladin, to Taln, that none of their stories could progress.)

Adolin has basically always had the same personality, from TWOK Prime, through the original draft of the published TWOK, to the revision. The changes to making him more strong a viewpoint character were very natural, and he has remained basically the same person all along--just with an increased role in the story, and more development because of it.

I do discovery write character, usually, as a method of keeping the books from becoming slaves to their outlines. This means that Adolin has gone some new directions, but it's been a growth from the person he was in TWOK Prime. (Which you'll be able to see when I release it, sometime in the hopefully not distant future.)

Brandon Sanderson

Chapter Seventeen

As I was working on the annotation for last week’s chapter, I realized it was touching on something I wanted to talk about in a more substantive way. So I decided to put that annotation off and make a separate, longer and more in-depth, post about it. This WILL have some small spoilers for the book, specifically some things to do with Jasnah and her sexual identity. If you’d rather just read it as it comes up in the story, then I’d suggest you head away now--and you can come back to this in a month or two after you’ve read Rhythm of War.

However, good communication with fans--particularly when it comes to expectations--is something I consider a foundational principle of my career. During the beta read, I had the chance to get a glimpse of how readers might respond to some aspects of Jasnah, and at that time I determined I’d do a post like this before the book came out.

So, here’s the problem: through the course of the series, people have been asking me about Jasnah’s sexuality. Gay, Bi, Straight, other? I usually answer with some variation of the following: “Jasnah would prefer you focus on other aspects of her identity, rather than her sexuality.”

I said this for various reasons. First, I felt it is in line with the character, and what she would want. Second, I’ve avoided talking too much about Jasnah as a general rule, since I plan her to be a major (perhaps the major) character of the back five books, and so it’s best to keep focus off her for now. There will be plenty of time for discussions about her later. Third, I generally don’t force relationships upon my characters as I write. It depends on the character, of course. (Navani/Dalinar, for example, had a romance planned as a main part of their storyline.) But for many characters, I give myself wiggle room to see what I feel works best as the story develops.

The end result of me being vague on this, however, was that I seem to have led a lot of people to think I was playing the Brandon game of: “If he won’t say anything about a topic, it must be mysterious, and therefore something we should theorize on a ton!” This is, obviously, my own fault.

I’ve heard a lot of different things via email and in person from people that have made me realize that a lot of people are wanting some mutually exclusive things from the character in this regard. As I started work on this novel, I decided I should say something in the book in order to pull back the shroud on the mystery a little, as I never intended it to get as big as it did.

I tried a few different things to see what worked and was most genuine for the character. In the end, I settled on what I felt was best and most in-line with how I view Jasnah. For those who want to know, and I’ll put this next part behind extra spoilers. Jasnah is asexual, and currently heteroromantic. Her feelings on physical intimacy are very neutral, not something she's interested in for its own sake, but also not something she's opposed to doing for someone she cares about. I tried several different things with the character, and this is what really clicked with me--after getting some advice, suggestions, and help from some asexual readers.

One of the reasons I wanted to make this post is because I wanted to address some of the people who are going to be disappointed as I worry that I (by making her a blank slate in this regard) accidentally led a lot of people to theorize and attach ideas they wanted to her--and so I’ll inevitably disappoint these people. (Though, hopefully, others will find the depiction I ended up with in line with the characterization and with Jasnah’s overall character mode.)

For the main body of the annotation, I wanted to talk about how Jasnah came about, and my inspirations. So if you’ll forgive me for a moment, I want to walk you down that path--and I think it might explain some of why I ended up making the decision that I did.

When I was first working on the Stormlight Archive back in 2002, I decided early on that I wanted a character like Jasnah in the books, as I was dealing with some gender politics and social structures. (I actually pitched Jasnah to myself as “The woman Serene thinks she is.” No offense to Serene, she’s just young--and I wanted to take a stab at a true scholar and master of politics.)

This decision made, I dove into reading a lot of work from feminist authors--and made certain to talk to some of my feminist friends in depth about how to accomplish an accurate depiction. A lot of times, when I’m developing a character, one or two things will leap out at me from readings, and I’ll start to use that to make up the core of the personality. (Much like the idea of Kaladin came from the idea of a surgeon, trained to save people, being sent to war and being trained to kill.)

Jasnah’s atheism was one of these things--specifically I wanted a rationalist humanist character as a counterpoint to the very mythological setting I was developing with the Heralds. I was extremely excited by the opportunity to have a character who could offer the in-world scientific reasons why the things that are happening are happening.

At the same time, one key takeaway I got from these studies was this: several authors and friends be frustrated with the idea that often in media and discussion, people pretended that a feminist couldn’t also be feminine. As it was explained to me, “Saying you shouldn’t have to play into society’s rules for women shouldn’t also mean no women should ever decide to play into some of society’s rules for women.” It was about choice, and letting women decide--rather than letting society pressure them. This was central to my creation of Jasnah.

And so, fundamental to my view of the character is the need for me to not force her down any path, no matter how much some fans may want that path to be the right one. Jasnah being as I’ve written her was just RIGHT. I’ve always viewed her as sharing some aspects with myself, and one of those is the clinical way I approach some things that others approach emotionally. While I wouldn’t say I identify in the same way as her, this part of me is part of a seed for who she is and how she acts. And with help from betas, I think I found her true voice.

All of that said, the people I’m most sad to disappoint here are those who I know were hoping for Jasnah to be gay. Out of respect for these readers, and to be certain, I did try writing the character that way in this book--and I felt it didn’t quite fit. Obviously, this is a character, and not an actual person--and so it’s all a fabrication anyway. I could absolutely write Jasnah as gay, and it wouldn’t undermine any sense of choice for a real woman.

However, it didn’t feel authentic to me. Plus, now that Way of Kings Prime is out, you all can know that a relationship with a man (Taln) was a plot point to her initial characterization. (I can’t say that I’ll stick with this, to be honest. It will depend on a ton of factors.)

When I discussed all this all with a good friend of mine who is far more involved in feminist discourse and the LGBTQIA+ community, she suggested that I make Jasnah bisexual or biromantic. I resisted this because I knew the only planned relationship I had for her was with a man, and it felt disingenuous to try to imply this is how I see her. (Though, in your head canon, there’s certainly great arguments for this.) The problem is that Shallan is leaning very bi as I’ve written her more, but she’s in a relationship with a man. I don’t know if this is a big issue in fiction, but it would feel somehow wrong to for me to write a bunch of bisexual characters who all only engaged in relationships with people of the opposite gender. It feels I could do more damage than good by trying to pretend I’m being inclusive in this way, without actually giving true representation.

This all might beg another question: will there be other characters in the Stormlight Archive (or cosmere) who are LGBTQIA+. Yes. (Including major viewpoint characters.) However, I worry that by talking too much about that here, I would imply a tone where I’m trying too hard to deflect. (One person I chatted with about this warned me not to send the “wrong message that queer characters are like representation tokens that we can exchange for each other for equal credit.” I found that a very astute piece of advice.)

I am quite happy with Jasnah’s depiction in this book, and while I’m sorry she can’t be everything everyone wanted, I’m excited for her development as a character in the back five books. My promise to you remains the same: to make the Cosmere a place where I explore all aspects of the human experience. And a place that represents not just me, but as many different types of peoples and beliefs as I can--depicted the best I can as vibrant, dynamic characters.

Many thanks to those in the LGBTQIA+ community who have written to me with suggestions, criticisms, and support. And thanks to everyone for being patient with me, and this series, as I continue to shape it.

Questioner

Do you know who Phineas Gage is?

Brandon Sanderson

No.

Questioner

Okay, so he was a miner and had an iron rod shoot through his head...

Brandon Sanderson

Oh yeah, yeah, yeah…

Questioner

...and it changed his personality and stuff.

Brandon Sanderson

Yeah, I have read about that.

Questioner

So if like consciousness and personality can exist independently of a body, if something like that happened to somebody in the cosmere would it change their personality?

Brandon Sanderson

It would change their personality. Unless it were a hemalurgic spike but then that does usually twist you as well. Yes it still would. In the Cosmere most of these things will work the same way, because the body’s interpreting what’s going on.

Ravi

If Odium were lured to Scadrial, would his physical body turn into a burnable metal?

If so, could Harmony create an Odium-metal legion of Mistings to consume and burn it?

Would that weaken him sufficiently enough to be killed or destroyed?

Brandon Sanderson

The difficulty here is, again, one of Identity. People born on Scadrial have an Identity tied to it and its magic. Odium would have to do certain things to make them able to use a magic he fuels. He has done these things on Roshar, so it's not impossible for him to manage it on Scadrial.

Questioner

How much do you see your family every day?

Brandon Sanderson

So, my family is at a hotel right now. All of them, including the two-year-old. So, I had a very fun airplane flight. Normally, when I'm tour, I'm in first class. I'm not ashamed to admit that because I can write in first class. In coach, I just can't get that done. So I'm up there in first class, typing away. This time, I was in coach with a two year old on my lap, watching Elmo.

You know, it's not as bad as it looks, because every day that I'm not on tour, I'm home all day. And my schedule still being what it is, I still generally write at night. So I get up at noon. And I go the gym, I check my email, and I only really get, like, three hours or so of good writing in before 5:00 rolls around, and I go out and I play with my kids, and I spend time with my wife. And at about 8:00 or 10:00, depending on the night, I go back in to work, and I work from 10:00 to 4:00. And that's when the real work happens. My wife, being a more morning person (she was a schoolteacher; I did marry an eight-grade English teacher, as well), she, more of a morning person, goes to bed at, like, 10:00 or 11:00. So she can go to bed, and I can go to work. And it's pretty awesome, honestly. Once she got used to the idea that I'm gonna go to bed at 4:00 AM (I tried to go to bed at her time, and I just laid there at bed; I'm a night person.) But it can be pretty awesome. For instance, when the kids were babies, we didn't have the whole sleep-deprived thing. Because I would stay up with the kid, I would just stay up a few extra hours, and I'd do the 2:00 feeding and the 6:00 feeding with a pumped bottle or whatever, and then she would get up and take over. And we both got full nights of sleep. So, it was pretty awesome.

I do see my family quite a bit, although I do feel I've been touring a bit too much lately. It's the idea of having two publishers, because Random House does my teen books, The Reckoners, and Tor does the rest of my books. So when I go on tour for one, the other one, like, shows up on my doorstep, like a sad puppy, like, "We want a tour, too." And then the Brits show up, and they're all, like, charming and stuff. And they're like, "Chip chip, wanna go on a tour?" A free trip to London? Okay. It's kind of hard--  I shouldn't make fun of the Brits, but the fun thing is, when you're touring there, all of the Sarahs, every Sarah that I had to sign a book, I'd say "What's your name," they'd say "Sarah with an haitch." Every time. I got used to saying "with an haitch."

I tour too much, but I like going to these places. It's the awesome part of my job, that we get a phone call, like, "Do you want a free trip to Taiwan, because we'd love to have you sign here." I'm like, "Taiwan is cool. Dumplings..."

Brandon Sanderson

Vasher Awakens the Straw Figure

I love how intricate and delicate Vasher is in creating the straw figure. The little eyebrow is a nice touch, and forming the creature into the shape of a person has a nice resonance with our own world's superstitions.

Voodoo dolls, for instance. This is very common in tribal magics and shamanistic rituals—something in the figure of a person, or the figure of the thing it's supposed to affect, is often seen as being more powerful or more desirable. The same is said for having a drop of blood or a tiny piece of skin, even a piece of hair.

Those two things—making the doll in the shape of a man and using a bit of his own body as a focus—are supposed to create instant resonance in the magic for those reading it. I think it works, too. Unfortunately, there's a problem with this, much like with the colors above. In later chapters, the characters are generally powerful enough with the magic that they don't have to make things in human shape or use pieces of their own body as a focus.

If I were to write a sequel to the book (and I just might—more on this later) I'd want to get back to these two aspects of the magic. Talk about them more, maybe have characters who have smaller quantities of Breath, and so need to use these tricks to make their Awakening more powerful.

Anyway, this little scene threw all kinds of problems into the book. Later on, I had to decide if I wanted to force the characters to always make things into the shape of a person before Awakening them. That proved impossible, it was too limiting on the magic and interfered with action sequences. The same was true for using bits of their own flesh as focuses. It just didn't work.

I toyed with cutting these things from the prologue. (Again, they are artifacts from the short story I wrote, back when Awakening wasn't fully developed yet.) However, I like the resonance they give, and think they add a lot of depth to the magic system.

So I made them optional. They're things that you can do to make your Awakenings require fewer Breaths. That lets me have them for resonance, but not talk about them when I don't need them. I still worry that they set up false expectations for the magic, however.

Anushia Kandasivam

Stories are one of the most powerful ways of bringing about change. In your opinion, how can authors strike a balance in their storytelling between raising awareness about things like violence against women, while telling an engaging story, without being pedantic or preachy?

Do you think it's important for influential authors such as yourself, who are read all over the world, to make a conscious effort to include characters in your stories that show reinforcements of respecting women as people and as human beings?

Brandon Sanderson

Definitely a big "yes" to your last one.

This is a big issue, and I'm glad you asked it, because it's something I've thought about quite a bit. At its core, it comes down to, "How do you write a story that explores difficult questions without preaching." Because, at the end of the day, we're picking up an epic fantasy book because we want to go to a new world, enjoy this new world, and have an interesting adventure. And we're not picking up it up because they want Brandon Sanderson to lecture them. And certainly, there are authors I do read to be lectured. So it's not a blanket statement, "This is how someone should do something."

But for me, there's a couple of core tenets. One is the one I've already mentioned. Which is, if I'm going to put a character in (which I think I should put a wide variety of characters in) approaching questions from different directions, make sure that I am researching that person's viewpoint, people who have that viewpoint in the real world, and make sure I'm doing the job that they would want me to do with their position, their subculture, their belief structure, and things like this.

But that kind of plays into another big... pillar of what I think my duty as a writer to do, which I've expressed it in the books, I've gotten it through things I've heard other authors write. Which is "Raise questions. Don't give answers." I believe that if you are raising questions, and having multiple people who are all sympathetic disagreeing on this question, or struggling with this question in different ways, it innately makes the reader start to say, "Well, what do I think about that? And is it something that I need to think about more?" And not dodging these topics, but also not coming down with long sermons about them, I think, is the way that I want to be able to approach them.

I often share this story, so I apologize if some of you heard it before. But the book that got me into science fiction and fantasy was Dragonsbane, by Barbara Hambly. And Dragonsbane, by Barbara Hambly, is criminally under-read in the science fiction/fantasy community. I have read it again as an adult, it holds up, it is a fantastic novel. What made Dragonsbane work for me? I was a fourteen-year-old boy who was handed this novel by his English teacher, and she said, "I think you are reading below your level. I think you would like something a little more challenging. Why don't you try one of these books on my shelf." And that's the one that I ended up picking up. This book should not have worked for a fourteen-year-old boy, if you read the Cliffnotes on how to get a reluctant reader to read books.

Dragonsbane, if you haven't read it, is about a middle-aged woman who is having a crisis as she tries to balance having a family and learning her magic. Her teacher has told her she can be way better at the magic if she would dedicate more time to it, but her family takes a lot of her time. And this is her main character conflict through the story. Now, it also involves going and slaying a dragon, and things like this. And it's a wild adventure with some excellent worldbuilding, and a really interesting premise. The story is about having to kill a dragon, her partner has been asked to slay a dragon, he's the only person who's ever slayed a dragon, but he killed a dragon when he was in his 20's, and now he's middle-aged, and he's like, "I can't do that like I used to anymore." And together, they go down and try to figure out how to kill a dragon when you're an old person. But this story should, on paper, not have worked for me, but it was the most amazing thing I'd ever read in my life.

Meanwhile, my mother graduated first in her class in accounting in a year where she was the only woman in most of her accounting classes. She had been offered, as she graduated, a prestigious scholarship to go become a CPA. And she actually turned that down because of me. She was having me as a child, and she decided that she would put off her education and career for a few years. She is now the head accountant for the city of Idaho Falls power plant, so she did go back to her career, but she put that off for me. Now, as... a middle school kid, if you told me the story, I'd be like, "Of course she did. I'm awesome. I'm me. Of course she would do that. That's the right thing to do." I read this book, and I'm like, "Oh, ditch your kids, woman. You could be a wizard!" I got done with this book, and I realized: I just read a fantasy book about slaying a dragon. High fantasy, all the stuff that should have just been brain popcorn. And yet, I got done with this book, and I understood my mother better. And it hit me like a ton of bricks, that a story could teach me about my mom in some ways better than living with her for fourteen years, because I was a stupid kid who wouldn't listen, and assumed he had the answers. But when I saw through someone else's eyes, who was very different from myself, that changed the way I saw the world.

This is why stories are important. This is why it is important-- if you're writers out there, it's why your stories are important. When you ask, "Well, what can I write that's new?" You can write who you are. And that will be new. And that is valuable in and of itself. Those stories have value because you're telling them. And this is what stories do. And this is how, I think, I want to be approaching telling stories. I want people to read the stories, and I don't want them to feel lectured to. But I want them to see the world through the eyes of someone who sees it in a very different way. Maybe that'll make them, make you, make all of us think a little harder about some of the things in our lives.

psychomanexe

I think that in the Spiritual realm a person's spiritweb sort of manifests as a collection of "nodes" which are the Forms of their body/mind/subconscious, and these nodes are connected by "lines" which are interactions between the pure Forms. These lines are what actually make up the person's character, how the body is "supposed" to be (barring accidents/disease, basically what magical healing attempts to restore the body to), as well as what interactions with investiture the person can use (what magic systems they have access to)

Am I completely off base here or should I keep thinking about this?

Brandon Sanderson

This is a good line to be thinking along.

Dan Wells

This is actually an idea we came up with on the cruise last year was to do an episode about all the things that we have tried to make work and couldn't; the novels that we abandoned halfway through or the short stories that just never came together. And we thought it would be a really fun way to end this year in kind of a backhanded, inspirational way to say, look, we're all successful at this and we still screw up all the time.

Brandon Sanderson

Yeah. And it's not just what we do when we were trying to break in, not those old trunk novels. It still happens every year. Let's take each, our biggest one, like the thing we got the most involved in, or the one that was most tragic to us that we couldn't make work and talk about it. And I'll just go ahead and start.

Brandon Sanderson

I - right before I got the call for the Wheel of Time, which changed my life dramatically - I had finished the Mistborn series, I'd finished Warbreaker and Elantris, and next I thought, I'm going to jump back in the shared universe of my Cosmere and write the prequel series that started it all, where everything came from. This is the backstory of the character known as Hoid, who is a fan favorite. And I'm like, I'm going to do this trilogy, or more books. It's going to be super awesome. It's going to just be the greatest thing ever. And I actually finished the whole book and it was a disaster. It was a train wreck of a book. The character, for the first time - it's like this whole problem you have when you have a really engaging side character that you try to make a main character - didn't work at all as a main character, at least as the personality I had for them way back when. The plot was boring. The setting just was even more boring, which is saying a lot for me. I tried to pull and incorporate some different elements from books that I had tried before and none of them meshed. And so it felt like five books with a bad character and no plot. It was a huge, just terrible thing.

Howard Tayler

Did it have a good magic system?

Brandon Sanderson

The magic system was weak.

Here's the thing. It had a really good magic system from another world that I ported into this world that didn't jive. And the one that was from this world never meshed well with that. And so the magic system was really weak in that it was doing cool things, but in complete contrast to the tone of the novel. Dan may have read some of it, Liar of Partinel.

Dan Wells

Uh, no.

Brandon Sanderson

OK. The writing group which just kind of baffled by this. I actually tried -speaking of what we did last week - I actually started with the clichéd scene of someone being hung and then flashing back to show how they got there - like it had so many problems with it.

Dan Wells

72 hours earlier.

Brandon Sanderson

Yes. Yeah, it was, exactly. It was one of those things. Exactly one of those things. Like "I'm going to to try this tool. Oh, this tool is not a tool," right? Like some tools you try and you're like, "Oh, that's a cool tool that doesn't deserve its reputation." Some of them you try and you're like, "This is so..."

Dan Wells

There's a reason everyone makes fun of this one. Wow.

So I kind of want to ask questions about how bad it was.

Specifically with Hoid.

Because that's what fascinates me about this. He was, he is a fan favorite and he's always the side character, you know.

He's the one who's sits off and makes goofy comments and, you know, maybe appears once and then leaves. What did you do when you attempted to make him a main character? Like what was your process there?

Brandon Sanderson

So I knew the biggest chance for failure on this was, you know, taking him a bit, having be too wacky through the course, right? It's the Minion movie thing, which worked for my kids, but for a lot of people are like "These side characters that add flavor to a larger story, when you make the whole story about them, are super annoying." I'm like, I can't have him be super annoying! Well, that's OK. It's you know, when he was young, when you're seeing him in the books, he's hundreds and hundreds years old. He was young, and so I will take that part out. But I did this weird dual identity thing with him, where he was like pretending to be someone else for a big chunk of the book because it had a really cool twist when I did the whole reveal. But then that meant I had to characterize him as somebody you grew too emotionally invested in somebody to...at the end you're like, "Surprise! In the next book you'll get to know who he really is." Which was part of it. And the person I was having him be was bland on purpose because it was like trying to hide and pretend to... Oh, man! There were so many problems with this character, like it was trying to be too clever, leaving out the cleverness that had made him a fan favorite on purpose. Right? So it's a different kind of cleverness. And it just did not work. Didn't work at all.

Dan Wells

Do you think that if you were to write that book today, you could make it work?

Brandon Sanderson

I have completely scrapped that, and what actually changed my opinion on how to do this was Name of the Wind. It needs to be him in the future, flashing back and talking about himself because people will have already bonded to who he is in the future. And it needs to be a memoir. It needs to be...the Assassin's Apprentice is a better example of what this needs to be, because Robin Hobb does such a great job of showing you that contrast between what someone is now and what they've become. And so I need to do something like this. This is now my feel on it. If I then can set in his own voice, I can have these, you know, this first person where we're really, really fun in Hoid's voice for all, and then he fades into the story when he's telling a story, he's not nearly as, you know, he doesn't try to zing you every minute, he tries to tell the story well. That's who he is. And so he will tell the story well. And then we can pop out occasionally and get, you know, it's like Bilbo from The Hobbit.

Brandon Sanderson

So we'll see if I can write it. But that's my plan right now. And there is my true confession of failure. There've been other ones since, but that's the one that hurt, hit me the most. I actually wrote The Rithmatist as I was supposed to go into the sequel to this and start outlining it, and I'm just like "I can't, this book is so bad." And I wrote The Rithmatist without telling any one of my editors I sent that in instead of Liar of Partinel.

Brandon Sanderson

Fantasy Stereotypes

Sazed makes an interesting note. "There is a kandra who fits in with his people as poorly as I do with my own," he thinks. Why is it that I tend to create a culture, then build characters who are in direct opposition to the way that the rest of their people act? I think there are a couple of reasons.

First off, as I've said, I feel that characters are driven by conflict. The person who is a perfect example of what his people revere just doesn't have as much conflict as the person who is in opposition to his own social mores. A Terrisman rebel, a kandra with wanderlust, a Dula who is depressed—these types of people just seem more interesting to me.

In addition, fantasy has a reputation for defining an entire culture based on a single individual. If you meet a dwarf, then you know how all dwarves act because each and every dwarf is just like this dwarf. It's common in fantasy books to let race or nationality be the same as personality. I react against this, and so intentionally create characters who don't fit in with their own people as a means of showing that any culture can create a multitude of different types of people.

I have to be careful not to let this be a crutch, of course.

Questioner

Odium has a history of breaking Shards. In order to do that, it feels like he must have something that gives him an edge over the other Shards. I’m curious if Odium (Taravangian) possesses anything further than the Shard of Adonalsium?

Brandon Sanderson

He does not have anything more than Odium. But he does have an edge.

Questioner

Like a Dawnshard?

Brandon Sanderson

Not a Dawnshard. No, if he had a Dawnshard, that would be very, very bad.

Brandon Sanderson

When I was working on Mistborn 2 with my editor, he asked me, "Are Vin and Elend sleeping together?" I said, "Absolutely." He requested some confirmation of it on the page, and I explained something that has always been my policy, and one that has served me well.

I consider what I'm writing to be a very detailed script, which you the reader direct in your mind. Each person's version of the books will be slightly different, but in sometimes telling ways. The subtext of conversations will change, the visualizations of the characters, even larger implications are changed, distorted, and played with by the reader as they build the story in their imagination.

This is an area in which I prefer to leave the answers to the reader. For those who wish to imagine that the characters are having sex, then the implications are often there. (Though I've gotten better at that balance, I feel.) For those who don't want to imagine it, and wish to pretend the characters are living different standards, I will often leave the opportunity for that--unless it is a plot point I consider relevant.

Certainly, my upbringing and beliefs are an influence on this. I'm obviously more circumspect in these areas than I am in others.

But yes, for those who don't want to pretend otherwise, Vin and Elend were sleeping together. And Wax and Lessie never had a real ceremony. My editor tried to remove the word "wife" from one of the later books, and I insisted, as the shift in Wax's thinking was a deliberate point on my part--related to his changing psychology in the books. But even to him, it's more a 'common law wife' thing.

As a side note you'll likely find amusing, I do get a surprising number of emails from people who complain to me (even take me to task) for the amount of objectionable material I include in my books, and ask me why I have to wallow in filth as much as I do. I'm always bemused by this, as I doubt they have any idea how the books are perceived in this area by the general fantasy reading world...

legobmw99

Does this mean that Wayne and MeLaan's fling is "a plot point [you] consider relevant"?

Calling it right now, Wayne's... intimate... knowledge of Kandra biology will be a point on which the fate of the entire cosmere hinges. Because why wouldn't it.

Brandon Sanderson

The plot point isn't exactly what you think it is, but yes.

One of Wayne's roles is that of a character who points out absurdity, either through word or action. There is a certain level of absurdity in what I described up above, and I realize that. Some things I talk about explicitly in books, some things I don't.

On a certain level, Wayne showing that people do--yes indeed--actually have (and talk about) sex in Sanderson books is there for the same reason that a court jester could mock the king. When as a writer you notice you're doing something consistently, even if you decide you like the thing that you're doing, I feel it's a good idea to add a contrast somewhere in the stories.

It's one of the reasons that Hoid, though a very different kind of character from Wayne, has more leeway in what he says in Stormlight.

dragontales3

I know this was a few months ago, but I have a follow up question (huge fan of your work btw!): Do you purposely mention characters having sex to show that they are maybe not "good guys"/"bad guys" are mentioned having sex as a continuation of their lowered morals? Like OP mentioned with rape, of course that would be a sign that someone is a terrible person, but I can think of several other instances in your books were someone engages in consensual sex who later turns out to be more morally loose.

ETA: I mean premarital sex

Brandon Sanderson

I don't personally consider this to be a sign of who is good or bad, but I can't speak for how the morals that shape my own society might affect my unconscious application of morals in my books. That's certainly something for critics to analyze, not for me to speak on.

If it's relevant, though, I don't perceive it this way. More, the people I mention engaging in premarital sex are ones more likely to reject societal mores. (Such as MeLaan.) I also am more likely to do it for characters who are not primary viewpoint characters, for reasons I've mentioned--the ability to allow plausible deniability for readers who wish to view the characters in a certain way. I can see myself unconsciously letting myself say more about villains for a similar reason, though I don't intend it to be causal.