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matgopack

Looks like he is going for that mirroring of titles after all! Very Vorin of him if he can get the last one of the 5 to fit.

(If you take the initials of the books so far, you'd get (t)WoK WoR O RoW, so he's on track for KoW(t) to make the last one fit!)

Brandon Sanderson

I've spoken about it. It's something I wanted to do originally for the series, decided against--then decided to go in for again after I changed the second book's title and picked a one-word title for the third book.

partwalk

That's really cool! So assuming Rhythm of War is the Eshonai/Venli book, the fifth book will be the Szeth book which was tentatively titled Stones Unhallowed. You'll be changing that to something that initializes to KoW?

Brandon Sanderson

The title of the final book will change. I was already uncertain about Stones Unhallowed.

17th Shard

You've told us that you took the idea of the Shattered Plains from Dragonsteel into Way of Kings and reading Way of Kings it's hard to imagine the book without them. What did Roshar look like without them? Can you walk us through the process of moving that concept from that series to this one?

Brandon Sanderson

Yeah, it looked pretty much like it looks in the books, but Way of Kings Prime takes place mostly in Kholinar and in a location that has not yet been talked about in the books.

Ah…it took place in another location, how about that?

One of the big things with this book is, as I was saying, that I think I started [Way of Kings Prime] in the wrong place. I moved some things back in time and some things forward in time. For instance, if you ever read Way of Kings Prime, the prologue to Way of Kings Prime is now the epilogue to The Ways of Kings. You know, the thing that happens in the epilogue with the thumping on the door and the arrival of a certain individual? That scene is now from Wit's viewpoint which it wasn't before. Pull Wit out of that scene and you'll get almost exactly [what happened] in the [original] prologue. So, the timing has been changed around a lot.

As I was playing with this book I found that, like I said, one of the big things I had a problem with was that I felt that Kaladin had taken the easy route when he needed to take the hard route. I was really looking for a good plot cycle. I needed something to pull this book together. I had characters but I didn't have a plot and I've mentioned before that sometimes things come [to me] in different orders. In this book world and character came to me, in fact character came to me first, world came second and then I was building the plot around it. I knew the plot of the entire epic and the entire series but I needed a much stronger plot for book one. Because of the various things that are happening I wanted to deal with a war.

So I was planning a war away from Alethkar, and I'm trying to decide what I'm going to do with this war. Meanwhile I have Inkthinker, Ben McSweeney, doing concept art for me to use in my pitch to Tom Doherty at Tor and he says, "Hey, I just drew up this sketch of some creature that lives at the bottom of a chasm, what do you think?" And he showed me this.

I told him that we were looking for kind of above water coral reef formations, and he sends me this brain coral, which is essentially the Shattered Plains with a big monster living at the bottom and I'm like, "Wow!" I actually did a book where this was essentially the setting. I looked at that, and that's actually what made me say, "Wait a minute, could I transpose this and would the Shattered Plains actually make more sense on Roshar than they ever did on Yolen?" I started playing with that concept and I absolutely fell in love with the idea. Unfortunately for Dragonsteel, that was the only really good plot cycle from that book.

So, I ripped it out of that book and I put it here, and that means it brought with it a few side characters who no longer live on Yolen because they now live on Roshar. Rock is one of them, though he's been changed. When he came along the Horneaters were born; they had not been in the books before. For those who have read Dragonsteel, he was Ke'Chan in that book. I couldn't bring that culture because that culture is extremely vital to [Dragonsteel]. I can bring a plot cycle or a little region, and there's certain things you can pull out of a book without ruining the soul of what the book is. I couldn't take the Ke'Chan out of Dragonsteel; they're just part of what that book is and so Rock had to change nationalities. I had to build him his own nationality, a new culture essentially just for him. And yeah, it worked wonderfully.

Someday I'll let you have that art, and if you remind me to ask Peter you can probably post it with the interview. As you can just see it's not the way that it ended up being because it looks different from how the Shattered Plains turned out, but it was the spark that made me say, "Let's move this over."

Questioner

Did you, in Wheel of Time, at any point, want to just change something?

Brandon Sanderson

You know, when I got The Wheel of Time, when I was offered it... one of the things they were looking for-- that Harriet (Harriet was Robert Jordan's widow. She was his editor first, then she married him. And we always joked that's how she made sure her editorial advice got taken. So, she discovered him, basically fell in love with him, and they got married. It's actually a really cool story. She was Tor's editorial director. She was the person who edited-- found and edited Ender's Game. Glen Cook's Black Company. She is amazing as an editor. And she discovered Robert Jordan, as well.) So, she was the one looking. When she called me, she found me when read Mistborn. I didn't know I was being considered, it's not like I sent in an application or something. She came to me, and she said, basically, after she decided she wanted me for sure, she said, "I need somebody to be the writer on this. That means complete creative control." Now, she was going to edit it, and her word was gonna be final. Which is not normally the case with an editor. But in this case, what Harriet said, she told me, "Whatever you feel needs to be done, do it, and sell me on it. And if I'm sold on it in the writing, then we keep it. And if I'm not, then we'll talk about how to revise it and fix it."

Because the notes and the outline were very free-form. Robert Jordan was not an outliner. He just had chunks and little bits of scenes here and there, and interviews with his assistants where he said "I'm thinking of doing this, or this thing that's completely the opposite, and I might just do a third thing that I can't decide on yet." Like, there was a ton of that. Going in, one of my mandates to myself was, when we did have something from Robert Jordan, we wanted to be sure to keep it. When we had something firm from him. And in that case, we kept basically all of it, except where it contradicted itself. Because his notes sometimes, he would change, he would be working on Book, like, Nine. And he writes a note for what he wants the ending to be. And then by Book Eleven, he's like, "I want this to be the ending." And those two, we don't know which one he would have settled on, so sometimes I'm just like, "I'm gonna strike this out and do a different thing." Like, he wanted to use the Choedan Kal in the ending. Both of them. But one, he destroyed. So, that note was from a previous... he'd written that before he decided to destroy it. Stuff like that.

In the end, there was only one thing I wanted to change that I didn't, and that was the spanking scene. With Cadsuane and Semirhage. Which, you know, I'm not big on the whole spanking thing, but he said write it, and I'm like, "All right, Robert Jordan, I'll write it."

Questioner

What was your favorite bit that you added?

Brandon Sanderson

Probably Aviendha going through the glass pillars, or Perrin forging his hammer. Those were both things that I felt the story needed. Perrin, there was very little on. He didn't leave any notes for Perrin, basically, at all. And so, Perrin, throughout the whole thing, I basically had to do. But Perrin was my favorite character, so I was very excited about that. He left a ton on Egwene. She was the one he'd almost finished her whole plot through the whole thing, and he was about halfway on Rand and Mat.

Dirigible (paraphrased)

If Shai had a gold shadow, and she used one of her Essence Stamps, would her gold shadow change to reflect her new self?

Brandon Sanderson (paraphrased)

Yes, because she is changing her soul so the gold shadow changes.

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.

Questioner

Now that you’re writing the Mistborn screenplay, what would be your ideal way to show emotional or non-physical Allomancy on the screen?

Brandon Sanderson

I’m playing with a lot of different things. The screenplay right now, we’re using blue as a signifier that Allomancy’s being used. The blue lines work pretty well. Mostly, you’re gonna see a very faint blue line, and you’re gonna see the object that the person is pushing or pulling on flashing blue. That is your indication.

And right now, I have someone’s eyes flash blue when they’ve been hit by emotional Allomancy. The problem with that is, it can’t be diegetic. It can’t be in-world; it has to be a thing for the audience. Which, non-diegetic music is fine. Everyone’s used to that in movies. But something like this, we may want to try to find a better way. But right now, that’s what we’re doing. That’s at least what the screenplay is. The person uses their power, someone’s eyes flash blue; they are being affected by emotional Allomancy. You now know. Again, I assume most people who watch the film will assume that’s diegetic. Which makes for problems and a huge weakness in emotional Allomancy that I don’t intend.

It is a trick, right? To show, “How is someone using Allomancy?” I kind of want someone, when a Thug is lifting something and burning pewter, you’d be able to see. I have it written right now that blue veins move across their arms like lightning, being like, “They are using Allomancy to enhance their strength right now.”

And it might be the answer, just make emotional Allomancy be diegetic. That it’s got this big weakness in the film version of the cosmere that it didn’t have in the books, in order to actually make it visual so that people can understand what’s going on. But there might be another answer.

And remember, I am not going to be writing the screenplay. I am going to write a rough draft of the screenplay, and then I’m going to work with a real screenwriter to actually make it into a screenplay. My goal is just to get down on paper what things I think are justified and important changes to make from the book to the film, and what things I think still have to be there. My goal is that anyone I work with would be able to take this screenplay or treatment, look at it, and say, “I am willing to commit to any changes we would make to this being approved by you.”

Because what they won’t do, is they won’t give me creative control. I don’t have enough power in Hollywood to get creative control over a film. J.K. Rowling got it. But Stephanie Meyer had to go to a second-string film studio to get it. And George Martin didn’t get it. That’s kind of your hierarchy. And I am below George; I’m probably actually where George was when he got that deal, I would say. I am in the category of, I don’t have enough power to demand this. I would have to be two ranks in popularity and influence more than I am, and I don’t think that is legitimately something we could wait to happen, because to get to Twilight or Harry Potter level popularity is just not something that you can count on. I don’t think you can count on getting to the level of popularity we’ve gotten to.

So I think, moving forward, my goal is to find ways that I can work with the system. And I think that if they have a screenplay and a treatment, and they’re like, “All right. We can agree that this is good enough that if we have to make any changes to this, we will let you have approval.” Having them say, “Brandon has to have creative control” without any screenplay or thing like that, no one’s ever gonna give me. So that’s the main goal of this. The main goal is to say, “Here is Brandon’s vision. Are you willing to make Brandon’s vision as a film?”

James Clifford

Science question!

Brandon Sanderson

Ohh science. Is it real science, or fake science?

Adam Horne

It is Brandon science.

Brandon Sanderson

Fake science!

James Clifford

With the discovery of anti-Investiture in Rhythm of War, would the correct form of anti-Investiture be usable to clear up the mess in the Sel Cognitive Realm. If so, would this completely destroy a splintered Shard?

Brandon Sanderson

*laughs, coughs, and is otherwise stunned* That would not be a good idea. So why would that not be a good idea? So no, this would not clear up the problem. The problem that's going on in the Cognitive Realm in Sel is that a bunch of Investiture that should be in the Spiritual Realm has been packed into the Cognitive Realm instead, through a very weird circumstance of events. If you were to introduce a bunch of anti-Investiture of the right type there, you would just generate an explosion that would be a very bad thing. Matter cannot be created or destroyed, Investiture can't be either, so it's actually changing forms. It's going from Investiture into energy! Which you know, does not leave the system. So the investiture would eventually make its way back around, you can't destroy anything in the Cosmere, just like you can't destroy anything in our universe. But you can make it change forms. And so, what's going on there is just this hope by a certain individual that what has happened there will prevent the power from becoming self-aware.

It's basically Odium being like "alright I just murdered you people, I don't wanna have to come back and do it again". So he's trying to figure out a way to make this happen. As it currently stands (again, these things can change when I write future books), it was partially happenstance that he took advantage of rather than something that he was able to set up very intentionally from the beginning, but he was definitely a part.

Questioner

Do you ever find that you are producing content so quickly that your mind comes up with a better idea after percolating for a while, and the book is already published? And if that does ever happen, how do you handle it?

Brandon Sanderson

This is dangerous, right? I think every author wants to go back and tweak things. And there is a fine line between pulling a Tolkien, where you go back to The Hobbit and you revise the ring conversation so it matches The Lord of the Rings, which has now become a classic conversation, we're all glad he did that, right? It ties The Hobbit and Lord of the Rings together better, it was a good revision. There is a fine line between that and Lucas-ing your work, right? Where instead of taking something and tweaking something to make it better, you tweak it just to make it different. I think there is a fine line there. There is a quote often ascribed to da Vinci, that a lot of people say it isn't his, but it's the idea that, he (maybe) said "Art is never finished, it is only abandoned."

You really have to take that perspective as an artist, you have to eventually just let things go. Not to sing an Elsa song, but you just gotta be willing to say "I'm done." And you are always going to have better ideas later on or ways you could tweak it. And more, it's not that you have better ideas. What happens is you change as an artist, and your goals change over time and the way you would approach something changes over time. While I've played in this realm, I've settled on that I should just avoid this most of the time. You could always tweak it to be better, and you've got to release something sometime.

I do find it very useful to finish something, write something else, then come back to the thing I've finished, because that gives me the right amount of balance between giving it time to rest so that I can approach it with fresh eyes, and also being regular with the releases. I haven't ever felt like I'm going too fast. I have had things that don't turn out too well, but those I just don't release. That happened with Apocalypse Guard last year where I wrote the book, I gave it some time, I came back and looked at it and it just wan't-- it didn't work. It was broken, it was not good, and I'm just like, "I've got to set this aside and think about it."

It's weird. Writing has a little bit more performance art to it than as a non-writer you might think. Meaning who you are in the moment, when you are creating this thing, the connections you make while you're making it are deeply influential to how the piece of art turns out. It's like you're freezing a moment in time for that author. Rather than trying to create the perfect work you are creating a reflection of who they are when they made it, and you have to kind of be okay with that as a writer.

Brandon Sanderson

The problem is not that the covers [for Mistborn Era 2] are bland. The problem is that book series take a long time to write.

When we repackaged Mistborn in 2007, this was the hot style. (When we picked this same style but with a different artist for elantris in 2005, it was right at the revolutionary point where these photo-realistic covers were hugely striking on the shelf.) You might not have liked it even then, but trust me when I say it was a very trendy and original style.

However, visual art tends change far faster than literary trends. So covers of a series grow outdated fast. In 2010, when we we're covering Alloy, this style was still hot enough. But then it became so hot it grew stale.

This leaves us with a problem.

Do we change mid series to newer covers, and leave fans with an unmatching set of hardcovers? Or do we continue with an outdated style, and then recover when the series is done? I'm perfectly happy to change our method if people want, but so far, we've erred on the side of staying consistent. (And yes, paperback recovers are already being designed.)

None of this is to say the artist is anything other than excellent. He is wonderful, and could give us something else if we asked. But again, then the books wouldn't match.

One of the issues here is that the U.S. market prefers visually eye popping styles that are more illustrative, but then get outdated faster. While more iconographic styles like the UK uses tend to last longer but never be as dynamic. I know a lot of you prefer those styles, but they can get very bland. (If safe and stable. See the UK wheel of time covers.)

There's a middle ground of course and all kinds of shades in the middle.

Let me know your thoughts! I'll glance back at this thread over the weekend. Would you rather we repackage mid series and give you more interesting covers but not have the series match?

EDIT: I did check back, and found what I expected. (Though it's good to have confirmation.) Keeping the books consistent across a format is how I'll still proceed, though I AM going to try to get some of our newer covers to try different things to see what you all think. And a I mentioned, if this cover style isn't for you, there's a repackage coming for the whole series (original trilogy and W&W) likely in trade paperback (the oversized paperbacks) coming sometime in the near future.

Brandon Sanderson

Happy New Year, everyone! Brandon here, with my first in a series of updates about your next book.

As mentioned in my State of the Sanderson post last month, my 2019 is dedicated to writing the fourth Stormlight book. It's a long process, likely to take around eighteen months or longer (depending on how big it gets this time...) As always, one of my goals is to be up front and forward with you about how it's going. The writing process can be a tangled one, even for simple books. And these books are anything but simple.

So, where do we stand? Well, right now, the outline is a bit of a mess. While I started with outlines for all five Stormlight books in this sequence (and some notes for each of the back five books as well) even a heavy outliner like myself changes a lot about a book during the drafting process. Each change has a ripple effect through the later outlines, which I commonly don't fix other than to note sections that will need to be change or be tweaked.

In the case of Stormlight, sequences were frequently moved between books as I decided on better places for them. (Like Dalinar and Szeth's flashback sequences in book three and five being swapped--or like Kaladin's sequence from the outline of Book Three being moved to Book Two instead.)

The further I get, then, the more messy the remaining outlines become. So the first thing I need to do is spend some time digging into the outlines of Books Four and Five, sharpening them and making them work. I need to do this now, because I don't want to get to Book Five and find it in serious trouble.

Imagine I have a big pile of legos, and I'm building five cool castles from them. I have to be careful as I use more and more of the pieces that the ones left over make a cool fifth castle--rather than just a jumble of leftovers. There are some very important and powerful sequences still to come (you all know how I like endings) but the outlines need extra special attention this time around.

My goal starting tomorrow (well, today once I wake up) is to get those outlines into shape. I anticipate this taking a month or maybe event two. I need to dig back into books one and two and make sure there aren't plot threads I'm ignoring, examine the themes of this book's flashback sequence (from Eshonai's viewpoint) and map them alongside the main themes of the major plots, then choose break points for the five parts of the story. (Along with decide who the viewpoint characters for each part will be.)

For those who don't know, I plot each Stormlight book as a trilogy written as a single novel (though in five parts) with a short story collection spliced into it. That "trilogy" then connects to the five book mini arc (in this case, the first five books) which in turn ties into ten book mega arc of the series. So, I've got a great deal of work ahead of me. Fortunately, we have an entire year for me to do it! (Though I will need to spend some of that time the next few weeks signing four thousand copies of the Hero of Ages Leatherbound, which FINALLY arrived.)

So, off I go! I'll be back here sometime February or March with another update, perhaps including a (spoiler free) visual representation of the outline like I did last time. Until then, thanks for the support! The Way of Kings passed a million copies sold in the US last year, which isn't even mentioning its significant sales around the world. I'm humbled and pleased to see so many people embracing this series, the one I started assuming it would be too long and too strange to ever sell.

I'll leave you with a random tidbit to theorize about. I'm pretty sure that at my signing last week in Idaho Falls, I was unintentionally misleading about some of the things I said about Dalinar's powers (regarding infusing of spheres.) I was trying to talk around spoilers for book four...

Questioner

The change in how the magic (on Scadrial) interact with each other, was that done by Sazed?

Brandon Sanderson

Yes it was. You will find a theme. The snapping in Mistborn is actually a repeated theme through a lot of the different magics. Um, but what I felt at the end of the day Sazed would do something about it. So, even though that is part of the magic system, he changed that. The change to Feruchemy is more a matter of other factors such as the large amount of interbreeding that happened following...and things like that. And so a lot of people with Feruchemy sDNA mixing with people with people with Allomantic sDNA has affected the way the magics blend, so to speak. That's not done by Sazed. That's just kind of an effect.

Questioner

You mentioned Star Wars, and you mentioned Elantris. I know you went back and did some rework on Elantris. How often do you-- How do you resist the urge to go back and rework your earlier books?

Brandon Sanderson

It's kind of a balancing act because-- There's a famous quote that people attribute to Da Vinci (though I don't know if it was really him) that says, "Art is never finished; it's only abandoned." Which is quite true. Every book could have taken another year, another two years, another five years, and become a different book as you're working on it. And I think there is a balance to be found between fixing continuity errors and improving the experience, versus changing the book into something else. With Elantris, when we did the tenth anniversary [edition], we tried to hold ourselves strictly to continuity errors. Things that were being fixed were language cleanups; kind of like the digital remaster of a DVD, where it's the same thing, but times where I misused commas or I used this word a little too much, we cleaned it up to make the experience better. Or, in one case, someone looks out and sees Elantris from a point in the city where they were facing the wrong way. Stuff like that.

The only time I have done more than that was experimenting with the end of Words of Radiance. And because-- My big concern with that is, I made some tweaks for the paperback, and then it raised lots of questions of "Which one is the canonical answer?" Which was too confusing for fans. I don't care if fans get confused on "What's the canonical answer of which direction this character was facing in this scene?" It doesn't really matter. But which is the canonical answer of what big decision a character makes does raise enough concern that I probably won't do it.

But I don't know. Grandpa Tolkien went back and changed The Hobbit to match Lord of the Rings. And when I read The Hobbit, that improved the experience for me, because I was reading it years and years later. I can see how it'd be confusing if people loved The Hobbit beforehand. But it ended up making a better story overall. So, I don't know. It's more about just finding the balance that we think is the right balance as we release these tenth anniversary editions of my books where we're cleaning up the language and things like that. I don't anticipate doing large-scale changes, unless they're for continuity reasons, moving forward.

Lirins hand

*inaudible* changing suits, or is the suit changing *inaudible*

Brandon Sanderson

(Brandon chuckling) Unfortunately he just changes suits.

Lirins hand

Three times?

Brandon Sanderson

Yeah, that's one of those things where now when I look at it I'm like, oh that totally looks like I was doing something...no.

AndrewStirlingMacDonald (paraphrased)

I have a question about the way that the brass symbol changed. It looks like brass no longer has a dot. Can you talk about that?

Brandon Sanderson (paraphrased)

That is just Issac deciding how he wants the symbols to look. It is nothing of Cosmereological import.

AndrewStirlingMacDonald (paraphrased)

Is there anything of cosmereological import about the way that the symbols have changed over time?

Brandon Sanderson (paraphrased)

Yes, slight import. I mean, it's just the idea that as things have evolved, and we are moving toward typesetting; we've moved into typesetting in the modern era, you're going to see the symbols change to kind of match different eras.

Brent Weeks

How do you keep magic, well, magical over multiple books? How do you balance the rationalist impulse of "I need to explain how it works so it seems well thought out and balanced" with some of that Harry Potter-esque sense of wonder? How do you balance the ability to surprise your readers with being careful not to make the magic feel like a deus ex machina? Is the presence of magic in fantasy about more than adolescent power trips? Must the functions of magic be analogous to other technologies or physical processes, or can it be truly alien?

To paraphrase one of the commenters, if you dissect the magic too much, do you risk it dying on the table?

*Maybe I'd put JK Rowling as an exception, arguing that eventually what she was writing was epic fantasy. And it did get better. Mostly.

Brandon Sanderson

If you dissect the magic too much, do you risk it dying on the table? Certainly, you do. Any time you explain a magic, rather than allowing it to remain mysterious, you are trading some of the sense of wonder for something else. An ability for the reader to understand the world, and what the characters are capable of. If you give a character a magic box, and say that when it is opened, something magical will happen that's one thing. If you tell them what the magic box does when it is opened, that trades some of the sense of mystery and (a smaller bit) of the wonder in exchange for a plot point. Now the character can open the box consciously, and influence the world around him/her by what is in the box. Done cleverly, you've traded mystery for suspense, which do different things.

When you start explaining why the box works like it does, you also make a trade. You trade more of your sense of wonder in exchange for an ability for the character now to extrapolate. Maybe figure out how to make boxes of their own, or change what the box does when it is opened. You make the character less of a pawn in a scheme they cannot understand, and more of a (potentially) active participant in their destiny.

I'm certainly over-simplifying, and I don't want to understate the power of either side. A sense of wonder, mystery, and a smallness to the characters was essential for such works as The Lord of the Rings. If you'd known exactly what Gandalf could do, and why, it would have changed the experience. Instead, you are allowed to feel like Frodo and Sam, who are moving through a world of giants, both literally and figuratively.

However, there are always going to be trades in fiction. What is it you're trying to do? I tend to gravitate toward worlds where the science adheres to the scientific method. And so long as something is repeatable, it can be studied, understood, and relied upon. You don't have to understand the HOW, so long as you know the WHAT and a little of the WHY. What is going to happen when I open this box, and how can I change the effect?

Done really well (and I'm not certain if I do it really well, but I hope to someday get there) explaining can still preserve a measure of wonder. The classical scientists discovered, explained, and tried to understand science. But the more they learned, the more wondrous the world around them became, and the more answers there were to be found. I think it is important to establish that there IS more to be learned, that the answers haven't all been found.

bane898

Pretty sure [Szeth's] eyes change color when he takes in a bunch of Stormlight, but in the books it's never mentioned that Nightblood changes eye color... u/mistborn?

Brandon Sanderson

Nightblood did not change eye colors in Warbreaker. Everything else is a RAFO for now.

virgineyes09

Writing question. When writing a fantasy novel in which the setting and the plot are so tightly linked (i.e. the plot of Stormlight is linked inextricably and specifically to the world of Roshar) which area do you focus on first, world or story, or both simultaneously? Can you talk about Stormlight specifically and how you built the world and the story to work so tightly together? Do you ever make small changes in the worldbuilding that end up forcing you to make big changes to the plot and vice versa?

Brandon Sanderson

The way I design stories, I'm usually always thinking about items in three areas that catch my attention: Character conflicts, setting themes, and plot archetypes. I keep a notebook where I'm writing down in these three general areas, looking for ideas that strike me as feeling new or interesting in some way.

Books begin to form when several of these ideas start to grow together, and influence one another in interesting ways. Roshar, as a planet, was interesting--but the story wasn't working t until the idea of the spren, the characters who interact with them, and the world all together started to play off each other.

When I feel like something is really coming together, I sit down and build an outline from all of these idea. This back-and-forth experience leads to the story being interconnected as I jump back and forth between outlining plot, setting, and character. Often, these things will change one another greatly as I work through it, trying to see it all as a whole, rather than parts.

izyk

You mentioned in an earlier answer that learning to revise was one of the biggest factors in making your work publishable.

Would you give us an idea of the process you go through when you revise?

Thanks!

--Isaac

Brandon Sanderson

Thanks for the question, Isaac! (Isaac, by the way, is the person who introduced me to my wife and set us up on our first blind date.)

I view working on a book in the same way a sculptor might view working on a block of wood. The first draft is generally focused on getting things in place so I can work on them. In essence, I cut out the crude features of the sculpture—but when it's done, there is still a lot of work to be done. Readers who see the book in this stage can tell what the basic arcs and characters will be, but the emotional impact is lessened by the crude edges and unfinished lines.

Here's my process in a nutshell:

Draft one: Write the book in draft form.

Draft two: Read through the entire book, fixing the major problems. Often, I'll change character personalities halfway through the first draft as I search to figure out how I want the character to sound. I don't go back then and revise, as I need to try out this personality for a while before I decide to actually use it. Similarly, often I'll drop in new characters out of the blue, pretending that they've been there all along. In the second draft, I settle on how I want things to really look, feel, and work.

Draft three: Language draft. Here I'm seeking to cut the book down by 10%. I write with a lot of extra words, knowing I'll need a trim. This will make the prose more vibrant, and will make the pacing work better.

In a perfect world, this is where I writing group the piece and/or send it to my editor. (For lack of time, my writing group is getting Draft Two of The Way of Kings. Hopefully, I'll be able to do draft three by the end of the year.)

I let readers read the book, and I take some time off of it. I begin collecting things I want to change in the book in a separate file, called "Revision notes for ***", listing the name of the book. I organize these by character and by importance and/or pervasiveness. For instance, a need to rewrite a character's motivations will be at the top. Fixing one specific scene so that it has proper foreshadowing will be near the bottom.

Once this is all done, and I've gotten feedback and had time to think, I read through the book again with my revision notes file open beside the book file itself. I actively look for places to change, kind of like a sculptor looking over the statue and seeking places to knock off jagged chunks and smooth out the sculpture’s features.

I'll do this process several times, usually. In-between, I'll often do line-edit drafts, like the language draft above, where I'm focused on getting rid of the passive voice and adding more concrete details.

EctMills

Have any aspects of your style changed as a result of working in the publishing industry? If so what were the changes and why were they necessary?

Ben McSweeney

Oh gosh, yes... for one thing, I'm constantly having to push harder just to keep up, younger artists have a great advantage in learning to work digitally from the start. I picked it up over a decade into my career, and had to learn it on the fly.

The switch to digital media is probably the largest, most sweeping change to happen to Commercial Art in hundreds of years, and if you can't make the switch you had better be damn good. Art Directors and Editors have come to appreciate the mutability of digital media, and it has massive advantages that physical media can't replicate. It lacks the tangible nature, but for most commercial purposes an original piece of physical art is just an artifact with a separate value, it's not relevant to the needs of the client.

I was dragged kicking and screaming into learning to use a tablet. 8 years later, and I never want to give it up.

Questioner

Do you ever feel like, as the author of these stories, you are basically the God of these books?

Brandon Sanderson

Yeah. It feels-- Honestly, I would look at it more-- The better way I feel is more like the historian. I've constructed the story in the outline, and now as the historian I'm writing it out and recording it. Because it's already kind of happened to me as the outline doing it. So I feel more like that. Like, I'm gonna do what the story demands. I'm not sitting there playing God, like, "I'm doing this to you!" I'm like, "This is what the right story is, and I'm going to write it."

Questioner

When you have to make changes, do you ever feel like you're betraying something in your story, when you have to make a change that maybe you weren't planning on?

Brandon Sanderson

No, it's the other way around. I never have made a change I haven't been comfortable with. It's only if I feel a story's gonna be stronger and it's better for the characters. A revision is more like an exploration of "Something was wrong in this, I did it wrong the first way. I'm gonna try to nudge it toward the way it should be." And when I can't do that, that's when I have to pull the book, because I can't figure out what it should be, if that makes any sense. It's kind of nebulous. But I'm trying to get it closer and closer to the perfect version of the story I'm trying to tell.

Questioner

How does an object in the Cognitive Realm view itself if there are competing viewpoints of it? Like if two kids view a toy as their toy, how does the toy view itself?

Brandon Sanderson

There is going to be often, things are going to be in a position of change. And usually it will have one thing. You will say, "What am I?" "I'm Brandon's toy." Then a little later it might be you say "What are you?" "Well, I'm Brandon and Joel's toy." And then at some point it might just become "Joel's toy." There's-- It's kind of the "When does a pile become a heap?" and that sort of philosophical question. At what point do you transition between one and the other? It happens, but it's fuzzy and it's vague. And it also influences what you can do to it and how to change it and things like that. Like a rock viewing itself as a rock changing into sand, there's some fluidity there.

Enasor

Merrin was a terrible name... It makes me think of member of Robin Hood, men in tights. I am super glad Brandon decided to change his name: Kaladin works much better, IMHO.

Peter Ahlstrom

It was Merin, but it did rhyme with Perrin and Verin. He was actually still using Merin when he was halfway through the first draft of the published WoK. I was totally used to it and thought it was a fine name, but Kaladin is better.

Enasor

Thanks for the added precision. Merin still make me think of Robin's Hood Merry Men... It somehow does not reconcile quite well with the mental imagery I currently have of Kaladin. I guess it feels rather different when you've known him as Merin for a long time, but knowing him as Kaladin to then find out he initially was a Merin is somehow weird.

This being said, it is super interesting to find out so many names were changed from the early version of WoK to the published book. It wasn't just Kaladin.

Peter Ahlstrom

Yeah, Sadeas used to be a guy called Meridas. One of Meridas's things was wanting to marry Jasnah (and Jasnah did not return the interest). But Sadeas didn't have that interest. So Meridas became Amaram's first name instead.

Enasor

Oh sweet. I didn't know about this one. I also heard Dalinar originally had no sons, then he had three and now he has two: none the original names were retained (except Renarin, I think). Quite a lot of changes. It is very fascinating how characters can move from one identity to another and through this morphing, earn another name.

Peter Ahlstrom

Dalinar's second wife in Prime was one of the craziest things.

Enasor

Oh I would have loved to read that. Has she become the inspiration for another character?

Peter Ahlstrom

No. At least not yet, and the way the series is going I doubt someone like her will fit.

Enasor

Ah then may I ask what she was like?

Peter Ahlstrom

I would leave that up to Brandon to reveal.

Phantine

Any plans to do another Altered Perceptions sometime?

Peter Ahlstrom

Brandon is in no hurry to be involved in something like that anytime soon, but we wouldn't rule it out. More of Way of Kings Prime will be revealed eventually, but at this time some elements of it are still spoilers for future books in the Stormlight Archive.

Brandon Sanderson

Chapter Two

So, this chapter gets the grand prize for most edited and revised chapter in the book. There are other chapters that have more new material–but only because they were added in completely after the original draft. This chapter, good old chapter two, was the one that underwent the most tweaks, face-lifts, additions, and edits during the ten drafts I did of Elantris.

And, I think poor little Sarene is the cause of it.

You could say that she played havoc with the book in much the same way she did with Hrathen, Iadon, and Raoden in the story.

As I worked on the novel, Sarene as a character took on a much more dominant role in the plot than I had intended. Perhaps it's because she's the intermediary between the other two characters, or maybe it's because I liked her best of the three characters. Either way, in my mind, this book is about Sarene. She's the catalyst, the force of change.

In the end, she's the one that provides the solutions to both Raoden and Hrathen's problems. She gives Raoden the hint he needs to fix Elantris, and she gives Hrathen the moment of courage he needs in order to turn against Dilaf.

However, I've found that Sarene is many people's least-favorite of the three characters. I had a lot of trouble in the original drafts of this book, since many alpha readers didn't like her in this chapter. They thought she came off as too brusque and manipulative. It was always my intention to show a more sensitive side to her later in the novel, but I didn't intend to lead with it quite as quickly as I ended up doing.

The first edit to the chapter came with the addition of the Sarene-and-Ashe-travel-to-the-palace scene. This is the section were Sarene sits in the carriage, thinking about her anger at Raoden and her insecurity. This counteracts a bit of the strength we see from her in the first scene at the docks, rounding her out as a character.

The second big addition came in the form of the funeral tent scene. This was added as a tangent to one of Moshe's suggestions–he wanted us to have an opportunity to see Sarene investigating Raoden's death. In the original drafts of the book, we felt the narrative made it too obvious to outsiders that Raoden must have been thrown into Elantris. Moshe and I felt that it seemed silly that people wouldn't consider the possibility that Raoden wasn't dead. This wasn't what I wanted–I wanted most people to accept the event. Only someone as overly-curious as Sarene would have been suspicious.

So, I revised the story to downplay the suspicion around Raoden's death. Instead of having Iadon rush through the funeral (an element of the original draft) I added the funeral tent and had Sarene (off-stage) attend the funeral itself. These changes made it more reasonable that very few people would have suspicions regarding the prince's death, and therefore made it more plausible that people wouldn't think that he had been thrown into Elantris.

Other small tweaks to this chapter included the removal of a line that almost everyone seemed to hate but me. After Sarene meets Iadon for the first time, she is pulled away by Eshen to leave the throne room. At this time, I had Sarene mutter "Oh dear. This will never do." Everyone thought that was too forceful, and made her sound to callous, so I changed it to "Merciful Domi! What have I gotten myself into?" A piece of me, however, still misses Sarene's little quip there.

Questioner

If you could change one thing in a book that already happened, what it would be?

Brandon Sanderson

So, I would probably... So one of the... There's a couple things I feel like I've done wrong. One thing is, in Mistborn, I wanted to tell a story about a really strong female character. But I was so focused -- and this happens to a lot of writers -- on making Vin really great, that there's no other women in the whole book. This happens a ton. You notice that you overcompensate in one area, so I wish more of the crew had been women.

In Words of Radiance, I didn't get the ending right, it's still not quite right. I tried to change it for the paperback, and then that just didn't work out. So, I didn't do any more changes, but the Kaladin-Szeth conflict is just something a little bit off about it, even still, that I'd like to take sort of another pass on that and get it right. I'm not sure what it would be.

Brandon Sanderson

Denth's Speed

Yes, Denth is inhumanly fast. He's a Returned, after all, and has all of the physical enhancements that come with that. Even when he's chosen not to manifest most of them, he's still got an edge, just like Vasher does.

How do they hide that they're Returned? Well, it comes down to mastery of their ability to change their appearance. They can't shape-shift entirely; they can just alter some things about their appearance. They can change their weight, their hair color, and things like that at will. Vasher doesn't do this often, but Denth has been known to use it as a disguise. The problem, after you do this once and someone realizes it, your nature becomes very suspect.

They have learned to suppress their divine Breath. This allows them to hide, but they must be careful never to give away all of their Breath. Denth has been a Drab before—he's not completely lying—but never for longer than a few days. And his divine Breath is always there, suppressed. So he doesn't know what it's like to be a true Drab, which is why in this chapter he says he doesn't think it changes you that much. He's never felt it.

Questioner

Lightweaving on Roshar, is it more of a Physical thing or Cognitive Realm thing?

Brandon Sanderson

Lightweaving? I would say it's a hybrid between the two.

Questioner

So there's a Physical effect, but also a Cognitive component to that?

Brandon Sanderson

Yes, and then even a little bit of a Spiritual component. Lightweaving tends to involve, I'd say it's mostly Physical. Mostly you're not changing what someone's mind is, but you're actually changing light. Mostly Physical, but Lightweaving in particular has a lot like- you'll see weird things happening with Lightweaving on occasion, that are kind of a little bit of Cognitive and Spiritual influence that's happening. So keep your eyes on that. Yeah, I would say, if you're asking is light actually being changed yes, it is.

Questioner

You've made it clear that on Sel, all magic requires both location and shape to be dependent. But we also know Elantrians are consistently being renewed by the [Dor]. Is that because Elantrians' bodies have been changed a certain way or is that due to the large Aon Rao in Elantris?

Brandon Sanderson

It is a little bit of -- it is more about the way they have been changed than about the Aon.

Questioner

Is that Spiritweb-based or is that body change kinda similar to the Dakhor monks?

Brandon Sanderson

It is a mix of both.

Questioner

We know Ati chose how Ruin was interpreted, in that he was a card-cackling maniac. Could someone so differently interpret a Shard as to change its name to be something different? Could someone pick up the Shard of Ruin and think I'm the Shard of Change? Or could someone pick up the Shard of Honor and think--

Brandon Sanderson

*hesitantly* Yes. To an extent. The interpretation, what you call a thing-- I think it would be arguable either way in-world, regardless of what they call themselves. There are those who would say the core intent is still there and you can't shift it that far, and others would argue you can shift it far enough to change the definition to a synonym. You see evidence of someone claiming this in the books. I'm not gonna confirm or deny for you whether that is actually a thing or not.

Bruno Santos

Of all your books, which cover is your favorite?

Brandon Sanderson

The cover of the original Way of Kings. Because of the meaning Michael Whelan's pictures and paintings have in my life. The fact that I got a Whelan cover, it so iconic for me and for Way of Kings.

We are doing a repackage of the Mistborn books, it's going to be hard to ever do that with Stormlight just because that first cover is so iconic and such a favorite of mine. It is interesting that both Elantris and Warbreaker's covers have become iconic as well in that there has never been conversation about changing those. But for whatever reason Mistborn, we change all the time. I doubt this is last the repackage we'll do; every few years we get new covers for Mistborn. Something about Mistborn lends itself well to us doing that. Maybe it's because we did once already by moving from hardcover to paperback, we changed the art style between the those two, maybe we are just used to it.

Questioner

I love the concept of the hair changing colors, how did you think of that? How did you get the idea?

Brandon Sanderson

So with Warbreaker I knew I wanted color to be a big theme, and so I wanted a way it manifests in some of the characters, if that makes sense. So that's where it began. I eventually settled on the color, because I knew that I was going [to be having some of the characters change shapes,] because the Returned change and transform, and so I used that kind of hair as a metaphor for that.

Questioner

Did you do anything for Way of Kings Prime?

Karen Ahlstrom

I did not. I don't think I've even read that one. I did read Dragonsteel, but I haven't read Way of Kings Prime.

Brandon Sanderson

We had Kristy [Kugler] look over it, who is a freelance editor friend of ours that we have do a lot of work because she's really good. She looked over Way of Kings Prime, but she's the only one, really.

You are getting this pretty raw. This has seen one editor, whose job was just to make changes. We just said, "Change things you think need to be changed to make it more readable." But it's still a draft.

Willbtsg

According to Wax's conversation with Khriss at the party in New Seran, changing weight while falling doesn't have any effect. However, storing/tapping weight while Pushing laterally through the air follows the conservation of momentum.

Peter Ahlstrom

Yeaahh…I will probably have to revise the first part of that discussion when we do the leatherbound for Bands of Mourning. It really isn’t consistent with the second part and how we’ve been accounting for it after it was determined that momentum is conserved. There is at least one scene in The Lost Metal where this comes into play.

MoriWillow

Is part of the issue that Wax is creating a false dichotomy between gravity and a Steelpush? (As both the force of gravity and the force of a Steelpush should change as he changes mass?)

Peter Ahlstrom

There does appear to be a false dichotomy, but it’s about velocity rather than force.

Chaos

How much do you plan in the cosmere? There were a few things in Rhythm of War [that went in] a different direction, like anti-Investiture, that black sphere Gavilar had in the prologue being anti-Investiture, and Testament and Shallan, were those always part of the plan or options?

Brandon Sanderson

Those were always options. Anti-Investiture has been pretty core for a long time, there are a couple reasons for this. Number one I need to get certain resources into the cosmere for use in the future, and anti-Investiture is one of those. Another reason is I want to push Stormlight Archive more towards magic-tech, because I'm pushing Mistborn more towards Earth analog with Earth technology and then some cool fantastical things thrown in, but when you're using the technology. When you're using a radio on Scadrial, it's a radio. You know what a radio is. It works based on radio principles, and maybe you can do some wacky things with weight, but an airship is kind of an airship to them where as I want Roshar which is on the opposite end of that spectrum. Where an airship on Roshar is not an airship like you would imagine. Its not being propelled in normal ways it's working off all these weird magical things. And anti-Investiture was an important thing to get into the series for the future for that reason.

From book one I knew I needed magical healing for Roshar, [for] the stories I wanted to tell to work. And I needed some really powerful magical healing. Particularly for the Knights Radiant, because of the stories I wanted to tell, this meant I was going to be very much under cutting the danger of physical violence in The Stormlight Archive as we move forward as the characters became Radiants. It is really hard to kill a Radiant in combat and there need to be foils to that. 

Beyond that from the first chapter of the first cosmere novel Elantris, death has not been the end. [hosts laugh] We start the first book with someone being resurrected. That's one of the main themes of the cosmere is a second chance at life. This is Raoden's story, this is Lightsong's story, this is Kelsier's story, this is a major theme of the cosmere, and I needed to be introducing into the cosmere a "dead is dead" mechanic. And I considered Shardblades for that for a while, before I even released Stormlight. No, it can't be Shardblades, because I can't have every battle - once lots of people have Shardblades then there's no purpose to the magical healing. So I needed another tool for the late part of the cosmere, when people have figured out Cognitive Shadows; How do you destroy a Cognitive Shadow? Well there are ways, but throw some anti-Investiture at them and that's guaranteed, you are gonna kill that Shadow, and I'd been pushing towards where to get this in, and this book felt like the right place. It was either this book or book five, and where it settled into this book is where I finally made the decision that I was gonna let Navani be a main character, which she had been pushing to be for a while, and I'd been pushing back. No, I deserve to have a scientist, an actual straight up scientist main character in The Stormlight who can dig into some of this stuff. I can self-indulge by doing that, as long as I balance it with Kaladin behind enemy lines fight sequences and things, for a more traditional structure. Because Navani's scenes do not have a traditional structure. They're like "we're going to do science now! But we're making up the science also?!"

Questioner

How much do you have to show about the past of your characters in a flashback?

Brandon Sanderson

There are no rules. There's nothing you have to do. Flashbacks, though, they can be great, they can be a minefield. Let me talk about some of the minefield aspects of a flashback.

First is, you're gonna have to decide how you're gonna do your flashbacks, because there are a lot of different ways. I do my flashbacks in The Stormlight Archive as a separate narrative line and basically we have multiple timelines in the books, where you're getting a character's timeline catching them up to the start of The Way of Kings. This works very well in an epic fantasy because I have lots of space and I can separate these chapters off that are flashback chapters completely on their own and they can be isolated. More common, the type of flashbacks you'll see from a lot of people is the "stop and think about it" flashback, and then cut to a new scene and you are seeing actively what the character's remembering at that time. This is the Lost method, the TV show Lost, a lot of television shows and movies use this, and they actively show the character thinking about it. I rarely do this. Once in a while, in The Stormlight Archive, you'll see a character start to tell a story about their past, and I'll make it a line with the next flashback chapter that you're going to get, but really what's happening is a character's telling another person a really shortened version of events, because when you're getting the flashbacks, it's actually not a flashback, the characters thinking about it, that's a separate timeline.

Another way to do it is the kind of, in the middle of a chapter, you're not doing a scene break, you're just flashing back to what happened, and there it gets tricky with tense. Tense can be really a challenge with this. The "I had done this" or whatnot, or if you're not gonna use the tense, it can get really confusing if you're not gonna do a tense change, you're just gonna put that past tense too, both of which are viable, I've seen them done very well. But those in-scene flashbacks can get really "tell-y" and really hard for readers to track and kind of uninteresting for them to read. The danger with any flashback -- this is the one that has the most trouble -- is that the reader will feel like the story is not progressing and instead they're wasting time doing something else and that they're not interested in attaching to this. And this is a challenge even with The Stormlight Archive ones. There are people who just do not attach to the flashback sequences, because they are, by nature of their story, prequels. And that's a challenge of writing them.

What do you gain? Why would you do this? Well, it's a really cool way to build motivation for your character, depth for your character, and to show a different place and time in your story so that you can show how much has changed. We talk about show versus tell, and you can use a flashback to show a character's changes quite dramatically in this manner. You can also get information to the reader in ways that would've been really "tell-y" otherwise. Sometimes, flashbacks are really "tell-y". And when I say "tell-y", they're boring, because they're infodumps and they're just giving you a whole bunch of information. A lot of times, if you do a flashback right, it feels more active and more interesting way to get the same information across to the reader, rather than having the character sit and explain about their lives to people, you just get to experience and see it. But that's just one tool, right, and like all of them, gauge for your own story if this tool is going to enhance the story you're trying to tell or if it's something that you should save for a different story.

Questioner

A Shardblade, what it does is it cuts off all the healing and control of an arm or whatever.

Brandon Sanderson

Yes.

Questioner

So like if an arm got badly wounded and was bleeding out and had to be amputated. If you went through it with a Shardblade first, would that damage you in other ways?

Brandon Sanderson

No, it wouldn’t. What it does is it severs the soul of the arm.

Questioner

But I know like with Mistborn, if you take bits of soul out of people it messes them up.

Brandon Sanderson

It does.

Questioner

Does it with Shardblades?

Brandon Sanderson

It leaves a wound.

Questioner

I have a question about Nightblood. I think I heard that-- Something you said in a Q&A that it is related to a Shardblade, or was a Shardblade?

Brandon Sanderson

Yeah… So Nightblood. Vasher visited Roshar, saw Shardblades, came back and tried to make one. With what he knew of his magic. That's the short version of it. Kind of simplifies things, but yes.

Questioner

How are you seeing the internet impact the industry?

Brandon Sanderson

One thing it's really changed is allowing authors to have a lot more direct interaction with fans, which is wonderful because we are directly supported by readers. Even though there are editors and people, there are very few middlemen even in fantasy, even in writing. To the point that, when you interact with me, what I mean is you're interacting with the content creator directly, which is fun. It's awesome. It allows me to actually get feedback from fans, to talk to fans, to thank the people who are supporting me. And like I said, there's very few layers between, but in the old days there was that buffer. You know, people used to send letters to the publisher, and then the publisher would send to the author, right? And granted, the publisher's not opening them and stuff. It's not like there's a big buffer there, but it's taking time, and there's just that step. And that step has vanished, which I like.

It is changing publishing. It's democratizing publishing. I really think this is a good thing for particularly our genre, where you will have a lot of things in sci-fi/fantasy that are not even the mainstream of sci-fi and fantasy. And sci-fi/fantasy alone is already not the mainstream. So when you go a couple niches down, you can find these things that a certain core audience would love, but it's very hard to market nationally. And this helps a lot more variety come into the genre. And that whole connecting directly with fans helps with people building a brand and breaking in, even if they aren't going traditional. The whole self-publishing has been a great boon, I think, specifically to science fiction and fantasy, in helping to add variety.

Ebooks mean that when I write 400,000 word novels, I don't have to apologize quite so much. Because people can buy it in ebook, and I say it weighs the same amount. So there is that. Otherwise, there are so many things changing.

blorcit

I've seen in your answers to previous questions that you are always open to changing aspects of your story so long as it's not already written in another book, or more importantly so that it doesn't contradict what the reader already knows.

That being said, how much of the Cosmere and its story would you say you already have a plan for? For example, do you more or less already know how each world and story ties into one another, or is that something that changes as you write? Given that there seem to be some constants in this universe (the number of shards, etc.), is there an end to these stories as a whole, or is it an ever-expanding universe?

Brandon Sanderson

Things do change as I evolve as a writer.

There is an end to this story. Dragonsteel-Kings-Mistborn are all fairly well planned out, but I must allow myself flexibility.

Bradley Culvert

If you could be given one object from your books and brought into the real world, what would it be? And why?

Brandon Sanderson

The Bands of Mourning would be pretty handy. They might be the single most powerful object that is an actual object. Unless you count, like, the Well of Ascension. I don't know; the Well of Ascension's, like, less an object. The Bands of Mourning might be it, though I'd be hard-pressed not to pick a living Shardblade, assuming that they could turn back into the spren. If having a living Shardblade meant that the spren came through and could bond with me and I could have my own cool spren and Shardblade, that would be pretty awesome, even if I couldn't get a hold of Stormlight to power it, that would be pretty cool.

Adam Horne

You wouldn't bring Nightblood?

Brandon Sanderson

I don't think I would bring Nightblood here, no. I do not think that I would bring Nightblood here.

Alex Herrera

Have any decisions you've made been controversial within your team?

Brandon Sanderson

...Yes. Famously, Peter Ahlstrom doesn't like Dreamer, which is my goofy little short story, that's his least favourite Brandon Sanderson story. I don't know that that counts though, deciding to write that story… What's been controversial among us?

Adam Horne

I have one, but I think it's hard to say without spoiling a future property.

Brandon Sanderson

You can tell me what that one is after… You probably want to talk about Cytonic, right? Is that the one? There are some things we did with Cytonic, and I don't want to talk about that either, because it's spoilery, but when Cytonic's out we can talk about some decisions I made which were controversial. But they were more controversial with my editor and my agent, the actual Dragonsteel team was onboard with changes. The vibe, like… Peter, and the team, the editorial side here, we vibe really well together—decisions I make are rarely unpopular because the team…

Adam Horne

Well, this might even be more of a question for me, where sometimes when you've given us outlines of what you think you're going to do I might have some reservations, but every time you do it, you do it so well that you've built up a huge amount of trust, and I'm sure I'm speaking for a lot of the people watching right now so, it's hard to have reservations when you deliver every time.

Background

We get controversial feedback among the beta readers.

Brandon Sanderson

Oh yeah, beta readers all the time.

Adam Horne

*Jokingly*  Yeah, but we don't care about them.

Brandon Sanderson

No we do care about them, and I like that they disagree. I make a lot of decisions that the beta readers… I would say there are very few that I make that the overwhelming majority of beta readers don't like, but the beta readers get split fifty-fifty quite a bit on things. It's one of the interesting things, you know, the beta readers hating or loving something is interesting to read.

Within the team though? Hmm… I mean, probably… this is going to be funny to people, but probably… So, the way that I describe the front of the Fourth Bridge airship coming down and the art for it—Peter pointed out “this art does not match the description as well as I would like it to”, and Isaac and I were like “eh, it's close enough. We're close to the deadline, we're just gonna go with it”, that was a pretty controversial choice because Peter was like “but it doesn't actually match”, and Peter's job is to be detail oriented on letting us know “this is a continuity error, you are introducing a continuity error, and you know it”, but at the same time, getting another draft drawn on that piece was not something we just had the time to do. And so I just said to Peter, “eh, it was an early draft of the plans that Navani drew, and it actually ended up being a little different”. 

You know stuff like that, that can be controversial, because we have some very detail oriented people in the team who's job is to be very detail oriented, and anticipate what the fans are going to complain about, and sometimes we don't have the bandwidth to actually make those changes. It's like when Moshe wanted me to change “podium” and “lectern”, and we went the rounds on that. Those are more controversial than other things like this, which is kinda funny.

Questioner

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

Brandon Sanderson

It can. It doesn't as a rule.

Questioner

So it'll still be raysium?

Brandon Sanderson

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

Roger

As I understand it, red is a sign of corruption in the cosmere. I just reread The Emperor's Soul, and it mentioned wisps of red smoke when Shai tests the Soulstamps. Does this mean she is corrupting Gaotona's soul?

Brandon Sanderson

Yes, that is what that means. Corruption doesn't have to have the negative connotation, right? Basically, it means an outside influence is changing the Spiritual nature of the soul. And, yeah, that's exactly what is happening right there. Now, I would call that a pretty good thing, but... like, all of those things, where she is playing with someone's soul, and changing it, and changing their past, and things like this. This is, by cosmere definition, corrupting someone's soul. That's expressly what it is.

Questioner

How's Skyward Three going?

Brandon Sanderson

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

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

gk-sudo

Would you consider breaking the palindrome format of Stormlight titles to give Stormlight 5 a better title, or are you pretty committed to the KoWT acronym, since there's already precedent?

Brandon Sanderson

If I can find a KoWT acronym that feels right, I will use it. I would say that it's 75% likely that I'm going to, but if I can't come up with one that we all like, I will break the format. The title's more important than keeping, I wasn't even planning the ketek format until I changed book 3's title and got us, you know. And then I'm like, oh, this could actually happen. But I changed book 2's title as well. This is a happy accident that we can make it happen, but I'm not going to then become slavish to it. And I also might let the T slide, right? In actual keteks, both the "of" and the "the" can be rearranged, depending on how strictly you're following the format, so it's possible that we change the O's and T's.

Brandon Sanderson

Vin Tells Slowswift Why He Should Care

Vin's little speech on change here is another of the interconnected weavings I mentioned earlier. This paragraph is supposed to hark back to book one, when Vin is walking with Sazed in the Renoux gardens near the middle end of the book. She says that everything is going to change, and Sazed offers wise council on the need for change in one's life. She's learned through her own experience that Sazed was right, and here she is able to use that knowledge to persuade Slowswift to be her ally.

simon_thekillerewok

That's interesting that you had this DID direction planned for Shallan since the beginning (pre-Way of Kings I presume). I had just assumed it was something that you developed in between WoR and Oathbringer. I know you've commented on subjects related to this before - but in light of what you're saying about leaning away from the fantastical, I'm curious to know if you think that if Shallan had become, say, an Edgedancer instead (or just never continued in her truths), that she would have developed DID and those aspects regardless? Or would she just have had her trauma manifest in other ways (such as other dissociative disorders like depersonalization/derealization/amnesia)?

Brandon Sanderson

I would say that she would have gone the same way she has, but the manifestations of her disassociation would have been different. But this is something I could perhaps waver on.

LewsTherinTelescope

I've seen quotes from you before that you didn't intend her to actually have DID, is that just about it originally being more fantastical, and now you're trying to make it actually be realistic more?

Brandon Sanderson

Yes, that's what is happening here. I originally shied away from it, as I didn't want to open that can of worms--but then, I realized I was opening it anyway, and the only way to be honest was to admit what I was doing and get some people who have DID themselves to advise me.

I think, in hindsight, I was trying to take too much of an easy path--and the path that didn't require me to do the work like I needed to

pweepweemuggins

Aha! So that's what you did. I immediately noted in the first chapters that Shallan's illness seemed to have gotten worse. I thought that it was you alludIng to a downward spiral of the characters in conjunction with the world of Roshar - which made sense because, if you place a mentally ill person in a world with no access to mental healthcare and then make their situation worse, what would happen? Their mental illness would get worse.

I'm surprised that it was just a change in the way you write her.

If you had the option to go back and revise all of her chapters that way, would you?

Because as it is, the real-ness and definition of her other egos reads like a downward spiral.

Brandon Sanderson

What you're noticing is not just me changing the way I'm writing her. More, I realized that her downward spiral was going to require me to actively deal with her mental illness in a responsible way, if that makes sense.

I wouldn't change much about the past books. It was more that I realized that the place she was going in this one required a more delicate touch than I could manage without some expert help.

Death Magnetic

I'd first like to say that this series was fantastic. I was exceptionally pleased with how you tied everything together in this final book of the trilogy.

(1) This series has the best world-building, magic system, and over-arching plot of any epic fantasy I have ever read. I think George R.R. Martin is still the master of creating memorable characters, developing them, and having them interact with each other. Other authors, like Hobb and Rothfuss, are better at evincing emotion. You are an amazing writer yourself.

That being said, I have a couple suggestions for you.

(2) The first contradicts itself, so take it for what it is. I would suggest that you write how you feel the story should be written. Getting inspiration from someone is one thing, but changing your work because some people want a happy ending or dark ending takes away from the purity of writing. The part you added in at the end where Sazed let Spook know Vin and Elend were happy in the afterlife really stuck me like a thorn. I think it was apparent how happy they were together in life and how necessary their sacrifices were. That would have been enough for me.

(3) My other suggestion is more of a plea really. Please don't extend this series just to capitalize on it. If you really feel there is more story to be told, then tell it. I, for one, thought the ending would have been perfect if allomancy, hemalurgy, and feruchemy would have faded from existence as their corresponding gods did. It would have been rather romantic to have people start over with a new "normal" world.

Congratulations again on completing a masterful work!

Brandon Sanderson

1. You humble me. I don't think I've NEARLY the skill for characters that Mr. Martin does, and that's not just an attempt at modesty. I hope to be there some day, however.

2. This is a tricky one. I didn't change the worldbuilding or the cosmology of the story in order to fit what people wanted, but I feel strongly about using writing groups and test readers to see if my intention in a book has been achieved. I show things to alpha readers to see what is confusing or bothersome to them, then decide if that's really something I want to be confusing or bothersome.

In my mind, the presence of a powerful being such as Sazed, mixed with some direct reaching from beyond the grave by a certain crew leader, indicated that there WAS an afterlife. However, test readers didn't get it, so I tweaked the story to make it more obvious. Perhaps I should have left it as is, but I liked both ways, and decided upon the one I liked the most in the context of reader responses.

I do plan to always tell the stories from my heart, and not change them because of how I think the reactions will be. But I do think it's important to know what those reactions are ahead of time and decide if they are what I want or not.

3. We are on the same page on this one. You can read other posts on the thread to see what kind of thoughts I might have for more Mistborn books, but I don't know if/when I will write them. It depends on the story and how excited I am to tell it.

Questioner

I'm guessing it's a RAFO, but why do Honorblades work the way they do?

Brandon Sanderson

Honorblades were crafted before Shardblades existed...

Questioner

So they were crafted.

Brandon Sanderson

They were crafted before Shardblades existed, and all Shardblades that exist came about as certain individuals trying to find out how to copy Honorblades.

Questioner

So would it be fair to say that Honorblades are analagous to fabrials in some sense? Trap spren in a crystal yada yada Stormlight power?

Brandon Sanderson

There is an analogy there, that I think would pass the SAT's rigor for analogies.

Adam Horne

Do you reserve the right when you answer one of these questions, to change your mind later?

Brandon Sanderson

Yeah, it doesn't happen that often, but I do mention that, on occasion, that Words of Brandon are not as strong as the book continuity. You have to understand when I'm answering these things, I'm answering as I feel right now, and there are times where the book demands rewrites to not-yet-canon things in the books. Occasionally it requires rewrites to small canon things. Like when we decided, "When Brandon wrote Way of Kings, he used too many metaphors that they just wouldn't use." And we went ahead and tweaked some of those. That's a thing we don't like to do very often, but there are certain times where the book can just genuinely be improved by changing and tweaking a few things. We do sometimes take those steps when we're doing an updated version for the leatherbound or something like that.

But I don't really consider the things that I'm telling you as Words of Brandon to be canon. I consider them insight into the development process of the stories at their current state, and there are things that I will change. This just happens when you're writing a book, where you're like, "Wow, that thing I was planning; that was a bad idea." I can either keep consistent with what I've said and what I was planning and make a worse book, or I can make a stronger book. I try to consider the books as they're written to be canon, revising at that point. Except for ways I have tricked you and things like that (I try to avoid that), but I do not take much into consideration what I've said. I do take it into consideration, but it's not going to prevent me from writing a better book, how about that.

Brandon Sanderson

Chapter Twelve

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

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

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

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

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