Advanced Search

Brandon Sanderson

TenSoon Impersonates Kelsier

I hope it's not too much of a stretch for you to buy TenSoon mimicking Kelsier here. The groundwork is all there: He is extremely good at crafting bodies, to the point that he was able to make a believable person out of bones he'd never used before back in the Homeland. He interrogated OreSeur and knew where the bones were, and what quirks of features he'd need to include to mimic Kelsier. And he'd seen the Survivor on one occasion himself.

That's right—as he mentions, he did see the Survivor. This shouldn't be too surprising for you, as TenSoon makes an appearance in book one. Go back and look in the book at where Elend confronts his father after going to one of the balls and coming home late. (I think it's the first or second Elend viewpoint we get.) There he mentions TenSoon, the Venture kandra.

TenSoon was there the day Kelsier fought in the Square of the Survivor, just like Elend and Straff were.

Brandon Sanderson

Allomancy's Mental Effects

An interesting side note is to watch how Allomancy—all of its forms—enhances the mind in some way. Though the original concept for the magic system focused on different powers—some physical, some mental—the final product always had a mental component. Notice how, when burning tin, Spook is more able to focus on solitary conversations in the room. Or how his mind can filter out the mist or the cloth he wears. Burning pewter or tin will also make the mind more alert and awake. Burning atium not only lets one see a little bit into the future, but also lets one process that information in a useful way.

The mind is such a big part of what makes us who we are. I wanted Allomancy to impact the characters—to have an effect you could see on the minds of those using it. As I've stated, one of the places where books can outshine television or movies is in the ability to see exactly what is happening inside a character's thoughts and emotions. By adding a mental component to each of the Allomantic powers, my hope was to play off of this strength of the written form.

Brandon Sanderson

One of the most common questions I get, as a writer, is some variation on, "Do you ever hear voices, or feel like your characters are real?" People ask it timidly, as they don't want to be offensive, but there seems to be genuine curiosity about the way a writer's brain works. (Other variations on this theme are questions such as, "What are your dreams like?" or "Do you ever get so wrapped up in your worlds that you have trouble coming back to our world?")

They're legitimate questions, though I'm not convinced that a writer's brain works in any consistently different way from someone else's brain. I think you'll find the same amount of variation in the way writers work as you'll find in any profession. There are as many ways to approach stories as there are people writing stories.

That said, I have talked to a lot of writers who imply a certain autonomy to their characters. "I had to write their story," one might say. "They wouldn't leave me alone until I did." Or some version of, "I was writing one story, but the characters just didn't want to go that way, and so took off in another direction."

To me, these are ways of trying to voice the fact that the way our minds work—and the way we construct art—is in some cases a mystery even to those involved. Human beings have this fascinating mix of instinct and intent, where we train ourselves to do complex tasks quickly through repetition. In this way, writing a book is somewhat similar to driving home from work—you can consciously think about it, and make each decision along the way. Or, more often, you just let your body do the work, interpreting things your brain says should happen without you thinking about it directly.

I spend a lot of time teaching how to write and talking about writing, but I don't consciously use a lot of the techniques I talk about. I've used them so much that I just move forward, without formally saying something like, "Now I'm making sure my chapter ties together the sub-themes it introduced at the beginning." The truly conscious technique comes during troubleshooting, when a story isn't coming together for me—and so I have to step back, take apart what I've been doing, and find the broken bits.

So again, a mix of intent and instinct is where books come from for me. I don't generally feel that the characters "want" to do things—but I still write them by gut feeling most of the way, and only look at breaking down their motivations specifically when I'm either working on the outline or trying to fix something in revisions.

On one hand, I know exactly who the character is and what they would do in a situation. So it does feel a little mystical sometimes, and you can have eureka moments during writing where you finally find a method to express this character that will convey the right idea to the reader. In that way, there's almost this Platonic version of the character that you're chasing—and trying to explore, figure out, and commit to paper.

On the other hand, it's likely that these characters feel right to me not because of any mystical connection to the abstract. It's because I'm unconsciously drawing from tropes, characterizations, and people I've known before—and I am putting them together on the page to form something that will feel right because of the backgrounds I'm drawing upon.

It's an exhilarating process for me, but also can lead to troubles. Which I'll talk about in Part Two.

Questioner

When either Rashek or a Twinborn like Miles, how does he fuel his metalminds? Does he have to actually burn the gold in order to fuel them? Because, I feel like there's a paragraph in here where you kind of explained it, but I feel like you didn't actually say that you had to burn more gold in order to fill a metalmind. Is that how that works?

Brandon Sanderson

Yes. You can cross the streams and use one to power the other. But you are using the metal to power your Feruchemy instead of your own-- You're using, basically, the power that's coming through the metal...

Questioner

So you do have to be burning one the whole time? Sounds good, good to know. So you could just infinitely fill it, basically? As you burn, you just use it to fill it and it just gets-- and that's where that comes from?

Brandon Sanderson

Yep. You are burning a metalmind that you've already filled, right? That's the key there. You fill a metalmind, then you burn that, and what that does is it keys the metalmind to the Feruchemy instead. Which normally no one can do because you could-

Questioner

You can't do both.

Brandon Sanderson

Yeah. But if you can do both, you fill a metalmind, you burn that metalmind. What comes out of it is Feruchemical power instead, and you then are filling the metalmind with more.

So Allomancy is fueled by the power of the Shard. So what you're doing is you're powering your Feruchemy with the power of the Shard, instead of your own body. Using their Investiture instead of yours. Which is very dangerous.

Brandon Sanderson

Galladon

I like finally having a chance to characterize Galladon internally. My sense is that you can never really get to know a character until you can see their thoughts. So, I gave a nice little series of viewpoints to Galladon, partially to show what was happening to Raoden's body, partially so that I could have some last-minute introspection and philosophizing regarding what is happening in the chapters.

Galladon's hope monologue in this chapter is probably the most powerful, and most interesting, section he gets in the book. This piece is supposed to mimic what the reader is feeling–things are going terribly, but Raoden has always managed to pull out a miracle. He may look bad now, but he can still save them. Can't he?

I think Galladon is more pessimistic–naturally–than the reader will be. However, he raises good questions, and his talk about hope–how Raoden's gift to him is the inability to give up completely–is one final showing of the power Raoden's personality has in this book. Perhaps the most amazing thing Raoden does in this book–more difficult a task to overcome than the gangs, more rewarding than taking the throne of Arelon–is make a believer out of a man like Galladon. A man who had given up on hope, but who now continues to believe, even though all is lost.

Questioner

In this world, assuming that [Roshar] is as old as it appears to be, wouldn't it be that the creatures that have gemhearts in them, as they die their body would rot away but leaving the gemstone? So wouldn't fossil beds exist with layers of gemstones in them from the passing of the ages?

Brandon Sanderson

Yeah, that's why-- yes.

Questioner

That's how they mine them?

Brandon Sanderson

They do mine them. What you've got to remember is, in my opinion these things are going to collect in certain ways in certain places.

Questioner

Densities and stuff.

Brandon Sanderson

Yeah. But yeah. Because there's no tectonic activity on Roshar, so.

Questioner

Just the buildup of crem over time slowly covers things.

Brandon Sanderson

Mmhmm.

Questioner

Why in the world would the Lord Ruler spike himself?

Brandon Sanderson

...Because he needed to give himself the powers that he didn't have. He could have done it like-- gained the knowledge but the power was gone so fast he actually needed to-- Well no no no, the spikes, the spikes, the spikes. So, it doesn't matter if he was spiked because he was hiding the metals inside himself so people couldn't Push or Pull on them. That's the real reason he was doing that. Does that make sense?

Questioner

No.

Brandon Sanderson

Metal that's inside of him--

Questioner

Ruin influenced him, what did the spiking do?

Brandon Sanderson

Well, the metals that were stuck through him were so people couldn’t Push or Pull on them. If they were outside his body people would know he was a Feruchemist. Which is the very thing he was-- so he would stick the metals inside of himself to hide them.

Questioner

And he did that as Hemalurgic spikes?

Brandon Sanderson

I'd have to go back and look because-- Lord Ruler is he spiked or has he just got--

Isaac Stewart

I thought he was... spiked but I can't remem--

Brandon Sanderson

You're asking something that I wrote 12 years ago.

Isaac Stewart

Peter, was the Lord Ruler spiked?

Brandon Sanderson

Lord Ruler was spiked, right?  Or is it just--

Peter Ahlstrom

I don't think so.

Brandon Sanderson

--piereced with metalminds, right? They're not actual spikes, just metalminds.

And I want to ask the Sharders on there [the recorder] about that Lord Ruler question, because I didn’t think he was spiked but--

Isaac Stewart

I think I recall him having the bands with spikes in them?

Questioner

So, there's not a lot a lot of Western books coming out these days. Is there anything in particular that made you decide to set Alloy of Law and the other books in that time period; and any challenges moving into that time period?

Brandon Sanderson

...It's hard to say, you know, to reach back into my "cultural archive," so to speak, in my head. I did watch a lot of spaghetti westerns during that era. I think they're cool. But I really think it was more wanting to deal with something in the early 1900s. Because, I love that era. That era, in our world, was, like, this era of scientific discoveries-- there was this revolution that happened, right around that time, with the coming of electric lights and the coming of motorcars where, for the first time, science is a thing for everybody. Like, before, science was a thing that somebody rich got to do, and then it became something-- like, I remember reading an essay that was written in, like, 1910, about a scientist who had gone and studied ditch-digging, and gone in there with the ditch-diggers. And he taught them, he figured out the science of what makes ditch-digging easier on their bodies and on their health and faster, and basically he 'scienced' ditch-digging for the ditch-diggers. And they loved that. It made their jobs much easier. It was a time where science was like that, it was the first time that science was like that... That time period really fascinates me, because you've got this whole-- my career is based around taking cool things and superstition, and to have, like, one foot over there and one foot in science, and kind of bringing those two things together. And that fascinates me, and that was a time period where we were transitioning from superstition toward science. That's really cool to me. So, I wanted to do something in that time period, and the Western aspect was just a fun part of it. The whole pitch of "Clint Eastwood has to move to big-city New York and take over his house politics" was really interesting to me.

Brandon Sanderson

THIS APPLIES TO FANTASY

Before postmodern literature can start appearing in a genre (and therefore, before deconstructionists can start pointing out the irony inherent in that postmodern literature) you need to have a body of work with dominant themes and concepts. You need an audience familiar enough with those themes to recognize when they are being molded, changed, and built upon.

Fantasy (and the epic in particular) hit a postmodern stage with remarkable speed. Tolkien was so remarkably dominant, so genre-changing, that reactions to him began immediately. And, since so much of the audience was familiar with his tropes (to the point that they quickly became expected parts of the genre), it was easy to build upon his work and change it. You could also argue that the Campbellian monomyth (awareness of which was injected into the veins of pop culture by George Lucas) was so strong in sf/f that we were well prepared for our postmodern era to hit. Indeed, by the late ’70s, the first major postmodern Tolkienesque fantasy epic had already begun. (In the form of the Chronicles of Thomas Covenant, the Unbeliever.)

During my early years writing, I mixed a lot with other aspiring fantasy novelists. A great number of us had grown up reading the Tolkien- reaction books. Brooks, Eddings, Williams, Jordan. You might call us of the rising generation Tolkien’s grandchildren. (Some of you may have heard me call him, affectionately, “Grandpa Tolkien” when I talk about him, which is an affectation I think I got from a David Eddings interview I once read.) A lot of my generation of writers, then, were ready for the next stage of fantasy epics. The “new wave,” so to speak.

During those years, I read and heard a lot of talk about “taking the next step” in fantasy. Or, “making the genre our own.” It seems that everyone I talked to had their own spin on how they were going to revolutionize the genre with their brilliant twist on the fantasy epic. Unfortunately, a lot of us were a little unambitious in our twists. (“My elves are short, rather than tall!” or “I’m going to make orcs a noble warrior culture, not just a group of evil, thoughtless monsters!”) Our hearts were good; our methods were problematic. I remember growing dissatisfied with this (specifically with my own writing, which was going through some of the same not-so-original originality problems), though I couldn’t ever define quite why.

I think I have a better read on it now. It has to do with a particular explanation one writer gave when talking about his story. It went something like this: “Well, it starts out like every other ‘farmboy saves the world’ fantasy novel. You know, the plucky sidekick rogue, the gang of unlikely woodsmen who go on a quest to find the magic sword. But it’s not going to end like that. I’m going to twist it about, make it my own! At the three-quarter mark, the book becomes something else entirely, and I’ll play off all those expectations! The reader will realize it’s not just another Tolkienesque fantasy. It’s something new and original.”

There’s a problem in there. Can you spot it?

Here’s the way I see it. That book is going to disappoint almost everyone. The crowd who is searching for something more innovative will pick up the book, read the beginning, and grow bored because of how familiar the book seems. They’ll never get to the part where you’re new and original because of how strongly the book is relying upon the thing it is (supposedly) denying. And yet, the people who pick up your book and like it for its resonant, classical feel have a strong probability of growing upset with the novel when it breaks so solidly out of its mold at the end. In a way, that breaks the promise of the first three-quarters of the book.

In short, you’re either going to bore people with the bulk of the book or you’re going to make them hate your ending.

That’s a tough pill to swallow. I could be completely wrong about it; I frequently am. After all, I’ve often said that good writing defies expectations. (Or, more accurately, breaks your expectations while fulfilling them in ways you didn’t know you wanted. You have to replace what they thought they wanted with something so much more awesome that they are surprised and thrilled at the same time.) But I think that the above scenario exposes one of the big problems with postmodern literature. Just as Jewel’s music video is likely to turn off—because of the sexual imagery—people who might have agreed with its message, the above story seems likely to turn away the very people who would have appreciated it most.

Argent

Can Shards manifest a physical body that can actually interact with the Physical Realm?

Brandon Sanderson

If they wanted to, yes.

Argent

Was that the thing that Odium did at the end of Oathbringer or was that just a projection?

Brandon Sanderson

Umm, it starts to be really difficult to define when you're getting to these points because they generally are such massive wells of Investiture themselves that it's like, is this thing they're creating, like, they are kinda, y'know, then bending the three Realms around the like spacetime with lots of gravity so is that a projection? Is that a real thing? Does it matter? Does that definition--

Argent

Oh! At that point they are almost the same thing, right?

Brandon Sanderson

Yes, exactly.

Zchance

I'm surprised no one else has asked but does this new world have atium? If atium was the body of Ruin then it would seem when Sazed took up Ruin's power he would have reabsorbed all of the atium. New atium then would be bits of Sazed's new powers and weaken him with each newly formed bead. It would seem then that if atium exists it would be much rarer, and mean that Sazed would not be able to control this process.

I guess I am trying to understand why he would want to allow any atium to make its way into the hands of people or rather out of his control?

Brandon Sanderson

It's theoretically possible for atium to appear in the future, but right now Sazed has no plans to release any of it to the people. It is, effectively, now something of myth and legend.

KChan

Just a random piece of worldbuilding, could be big or small, from the Final Empire, that we did not get to see in the books.

Brandon Sanderson

There's a whole bunch of stuff. Let's see what's good. Have I told people this one yet? There used to be very little water on [Scadrial]. In fact, it was mostly a dry planet; if you saw it from space, it looked like Mars, with little patches...

KChan

Did Preservation change that?

Brandon Sanderson

No, that was just the heat, and the things that were going on with moving the planet boiled off a lot of water.

KChan

I mean, putting the water back?

Brandon Sanderson

Oh, with Sazed? Yes, Sazed did. So, like, with the bodies of water you see in the map, are actually not really oceans... I mean-- like, that is the extent of it. Like, it's not actually-- I know people think that's a sea, but it's not. Well, it's an inland sea.

Questioner

It's just not that it's very habitable beyond that point?

Brandon Sanderson

Yeah.

Questioner

What do you want to accomplish with your writing?

Brandon Sanderson

What do I hope to accomplish?

Questioner

It's kind of a deep, philosophical question.

Brandon Sanderson

Yeah. It is. It is indeed a philosophical question. At the end of the day the number one thing I want to do is tell great stories. Everything else is kind of an appendage to that. I'm a storyteller. And great things come from stories, but if the only thing I do is entertain some people and make their day brighter, that's a success. So sure, I'd like to create something in fantasy that's never been made before, right? Like I would like the cosmere to become this thing that people are like "No one's ever done that, look at this cool thing!" but that's secondary to just wanting to tell great stories and make people's lives a little brighter.

Yeah, I think that great books make you think, but not because they try very hard to make you think. If that makes any sense?

Questioner

I agree with it...

Brandon Sanderson

I would like to-- I would like to write something that is as immortal as Ender's Game is likely to be, right? Most of the body of Scott Card's work will probably be forgotten, but in two hundred years, they'll still be reading Ender's Game. And most everyone's work, that most everyone writes, will be forgotten but once and a while somebody creates something that is likely to stick around for a while. I'd like to do that. But that's secondary.

Brandon Sanderson

Vin Gets Her Earring Back

Getting Vin's earring back to her proved a logistical problem here, perhaps one of the biggest puzzles in the entire book for me. If I pulled the earring, then Ruin couldn't talk to her, and I couldn't include the scenes of her and Ruin in jail. I felt they were very important—both to make good use of Vin's time while imprisoned, and to get across useful information about the nature of Ruin—his goals, his motivations.

And so, I needed to have Yomen give the earring back. But why? Why would he give a piece of metal to an Allomancer? Vin's reasoning in this chapter is the best I could come up with. Yes, Yomen has atium, ready to burn it. He is, indeed, trying to spring any traps Vin has ready. In fact, once he had her taken away, he followed a distance behind and waited by her cell for the rest of the day, expecting her to try something. When she didn't, he was rather confused.

The earring also presented a problem in that in the original drafts of book one, silver was an Allomantic metal. I later changed silver to tin and played with what the metals did. However, I didn't have the specifics of Hemalurgy down. And so, when I got this book, I worried that her earring would be the wrong metal. Hence the silver plating explanation, as I worried that I'd forgotten or missed some instances in book one where I mentioned the earring being silver. (I tried to cut all references to its actual metal, so that I would be open to build Hemalurgy as I saw fit.)

Notice that Ruin's voice doesn't come to her until after she puts the earring back in. As she points out later, his telling her to kill isn't as specific as she's interpreting it. He's just sending her a general feeling that she should kill and destroy; his attention is elsewhere at the moment, watching what Spook is doing.

Questioner

In Nalthis, when is Breath first bestowed upon a person?

Brandon Sanderson

When is Breath first bestowed? Um, so I went-- Oh, so you're getting at this sort of-- I got it. *laughter/pauses* So, are you saying is it at birth or conception?

Questioner

Pretty much. I'm just wondering *audio obscured by laughter*

Brandon Sanderson

…What's that?

Questioner

I'm wondering if mothers have autonomy over their own bodies when it comes to Breath?

Brandon Sanderson

Yes. Uh, I'm going to go ahead and RAFO that one for-- Let's just let it-- Let's let-- Let's let the fanbase discuss that one and come to their own decisions.

Kaimipono

Why exactly do some spike removals kill (dual eye, or central spike) but most don't?

Brandon Sanderson

For the same reason that a bullet through one part of the body will kill you, but getting shot somewhere else won't. The physical form of a person who has undergone a Hemalurgic transformation is no longer what we think of it. The direct connection to Preservation starts keeping them alive. (Imagine stapling someone's soul to another person's soul, their life essence, then stapling that to the power of creation itself, giving you a conduit directly to power, letting you leech it and steal it.) That power keeps you alive, despite the wounds. Some of the time, the other staples are enough to keep you alive, even if one is pulled out. Others are too important.

Krios (paraphrased)

If you have a form of manipulating your Identity and a form of healing, are you able to shapeshift or even evolve your body like growing wings?

Brandon Sanderson (paraphrased)

You'd have to do some real work on your Spiritweb to make that work. It'd take more work than you're implying, but the [singers] for instance are doing this. It'll take a little more work, it's not just blanking your Identity. Hemalurgy would make it very easy, but also very evil. But what you want to achieve is possible.

ChimeraRuin

In [The Hero of Ages], what spooked Vin off from meeting Hoid? (My theory is Ruin's infulence, because he didn't want Hoid interfering(sub question that just occured to me. Was Ruin aware of Hoid on Scadrial?)

And

What would Hoid have told her if they had talked?

Brandon Sanderson

Ha. Well, by this point Hoid had been to the Well--getting there just before Vin--and had retrieved something from it. That should have been enough to get him to leave the planet entirely, but he got involved in events. (He tends to do that.) It's pie in the sky, but I would someday like to do parallel novel to the Mistborn series with Hoid in the background like they did in the second(?) back to the future move. I don't know that I'll ever be able to do it, but we shall see. I would answer this question there.

Daily Dragon

Your work is often praised for unique magic systems with interesting limitations, like the application of the laws of physics to the abilities of a Coinshot in the Mistborn series. What kinds of limitations do you think have the most potential?

Brandon Sanderson

There are lots of ways to go with this answer. It depends on how creative you are with your storytelling. I like to found my magics with certain rules so that I can force myself and my characters to be more creative in their application. I think that a good magic system is going to have some of this. Granted that my way is not the only way; there are a lot of great stories that don't do magic the way I do it. But if you're trying to tell a story where the way the magic works is a very big part of the story, then limitations are vital. I would say the best limitations are ones where creativity is forced on the part of the characters.

I don't like limitations such as kryptonite—this one thing negates the magic, which focuses the story around having it or not having it. I like limitations that are intrinsic to the magic and have a logical sense. When I can, I like the limitations to be bounded by the laws of physics—what requirements will physics put upon this magic that will make the characters have to use it in a more natural way.

The other big thing is that I split out costs and limitations in my head. A limitation is just what the magic can or cannot do, just like we have limits in our own world to what a physical body can achieve. Costs are what you pay for the magic, and these can add an economic component to a book and a magic system; they can add a lot of ties into the setting, and a great magic, I think, has a lot of ties into the setting.

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.

Questioner

I believe you've said that you've toyed with the idea of writing books more like Secret History from other characters' viewpoints. Would you consider doing one for Marsh, like, during the events after the Ascension of Harmony to The Alloy of Law?

Brandon Sanderson

Yeah, that's a possibility, people have asked me for a Marsh viewpoint before. I would like to do more Marsh. So, we would have to see-- Like, when I do-- if I can find the time for it, Secret History 2-- Mistborn: Secret History 2, that would cover time before the start of Era 2 and it's possible I can slip in some Marsh. I mean, in Secret History we got some Spook, so…

zas678

Why can a human be affected by Surgebinding but metals within their bodies cannot be Pushed or Pulled?

Brandon Sanderson

They can be Pushed or Pulled, if you're strong enough.

zas678

So is it just the Innate Investiture--

Brandon Sanderson

The Innate Investiture is interfering with things. Like if you look at it this way: So you're Surgebinding someone, I am touching him and sending the power straight into him. There's difference between there's something inside of him that I'm messing with and going through?

Brandon Sanderson

For those of you who don’t know, when I was writing these thirteen books.  I started working on them and I loved the big epics but when I sat down to write Elantris a lot of the advice I had heard from editors said “Don’t write a big series in the beginning.  You want to write a standalone book with sequel potential. So when you sell that you can then write the sequels to it, but if you don’t sell it you’re not locked into spending all of your time writing these.”  The idea was if you’re going to write five novels, write five first novels as opposed to one book and four more so if you can’t sell the first one the others you can sell somewhere. And that’s decent advice, it’s not the only advice. Naomi Novik who writes the Temeraire books, if you’ve read them they’re quite good, she wrote the whole trilogy right off.  She ignored that advice and when she sold the first one she had the other two ready and they bought those too and they released her books one at a time one month after another. I think the Iron Druid guy did that too. It can allow for a really explosive start where you’ve already got shelf space, you’ve got three books there. Instead of being a nobody with one book, you’re a nobody with three and suddenly you look more important.  

Anyways I heard this, and I really do like jumping to a lot of different projects so this is what I tried but in the back of my mind I did love the idea of the big epic.  It is what got me into this, I love the Wheel of Time and things like this. So I started writing a hidden epic so I embedded into Elantris hints of a character I had been developing for years which was a guy who went from world to world in a fantasy universe investigating the different magic systems.  I started embedding this story behind the story using an outline I had used for my very first book that I had never actually finished as a background for all of this. So I was basically writing a sequel to that book but on a different planet, with different characters. I started writing my next book each had these same hints and allusions hidden behind with different characters crossing between the worlds and sharing.

I eventually published Elantris and decided this is something that I thought was cool and wanted to do and I’ve seen people do it.  Stephen King connected all of his worlds. And other authors, Terry Brooks eventually combined a bunch of his worlds together and I thought that what they did was really interesting and I had never seen anyone do it from the get go though right?  Like when Asimov linked the Robot books and the Foundation books it was something he did later in his life where he’s like “I’m going to blend these two together and make one universe out of them.” I hadn’t seen anyone do it from the start, and again I have an advantage on Isaac Asimov and Terry Brooks and people because I’ve read them.  I’ve been able to see what they did and say “Well I’m going to do this from the get go, to see if I can tell this cool hidden epic behind the stories.” So that’s called-- I called that the cosmere, it was my name for it when I was sixteen. It now seems almost a little silly to me but I’ve kept with it because, you know, it is one of those old remnants that I have from my teenage days.  There are characters-- There is a character that has shown up in all of my epic fantasies, things like the Rithmatist are not part of the cosmere, Earth isn’t so if it references Earth you know it’s not. But they show up, and there’s like an underlying, fundamental laws of magic. And there’s a story that happened long in the past and a lot of these people are reacting to this and things like that.  The thing that I want you to know though is I do it in such a way that you don’t feel like you have to have read my whole body of work to read one. Like you don’t have to have read Elantris to read Mistborn. You don’t have to read Mistborn to read Way of Kings even though there is a character from Mistborn in Way of Kings. You don’t have to do that, it’s all behind the scenes and it will never take over a series.  You will never get to like book 8 of the Stormlight Archive and be like “Wow, now its all about the cosmere, its not about--” It’s not going to happen happen like that. I will write books about the cosmere but I will be upfront from the beginning about this is going to be the cosmere series. If you don’t know the different magic systems you’re going to kind of be confused because they are going to interact with each other and things like that.  Eventually that will happen but for right now, you don’t need to worry about it. They are all easter eggs, you can read them in any order and you can piece them together and stuff like that.

Brandon Sanderson

Tonk Fah Wants to Be the Mean One

Tonk Fah is a sociopath. He doesn't feel an emotional connection to other people, nor does he feel their pain when he hurts them. He tortures and kills animals when it strikes his fancy. There's a dead parrot in the basement of the safe house, which is why Denth keeps Vivenna from going down there. There aren't any bodies of Idrian soldiers down there currently, though Denth has had a few of them killed already. The fact that he has people watching their house, plus Vivenna's mention of her father's soldiers checking Lemex's house first, are tiny clues. They do indeed go there first, and Denth has his people there watching. That's how he catches the Idrian soldiers.

By this point in the story, he's killed about three people who have come looking for Vivenna. The death count will eventually reach several dozen.

Questioner

Are TenSoon and MeLaan gonna be in the Wax and Wayne series at all?

Brandon Sanderson

You have seen TenSoon in Alloy of Law, and MeLaan was mentioned by reference, though they didn't know her name.

Questioner

Was it in the broadsheet?

Brandon Sanderson

Nope. You just watch. They both are in there. TenSoon is wearing someone's body. So watch for somebody who changes personalities drastically between the beginning and the end of the book.

Questioner

Is it the police guy?

Brandon Sanderson

Yeah.

Satsuoni

You said that every person on Scadrial has a bit of Preservation in them. It is possible, then, to accumulate enough Hemalurgic charge from killing normal people by, say, steel spike (at once, or in order), to make that spike grant Allomancy? Building on this, is it possible for the spike to accumulate charge while being imbedded in acceptor body, by killing people with the protruding end?

Brandon Sanderson

My, you're making the Scadrial magic systems sound a lot like the one from Nalthis.... Hm....

InsurrectionistFungus

Did Sazed do anything with the bodies of Ati and Leras after he Ascended?

Brandon Sanderson

No, I'm afraid not. Those might have been useful to have around, though.

Andrew The Great

Why can Vin fuel Elend's atium-burning, even though Atium is Ruin's Body and Vin is using Preservation? Or did I misread that and he was just burning atium and had run out of everything else?

Brandon Sanderson

Yes, as has been pointed out:

A powerful peace swelled in Elend. His Allomancy flared bright, though he knew the metals inside of him should have burned away. Only atium remained, and the strange power did not—could not—give him this metal. But it didn’t matter. For a moment, he was embraced by something greater. He looked up, toward the sun. (From the text.)

As a note here, the powers granted by all of the metals—even the two divine ones—are not themselves of either Shard. They are simply tools. And so, it's possible that one COULD have found a way to reproduce an ability like atium's while using Preservation's power, but it wouldn't be as natural or as easy as using Preservation to fuel Allomancy.

The means of getting powers—Ruin stealing, Preservation gifting—are related to the Shards, but not the powers themselves.

mathota123

Is the creation of skaze end-negative?

Brandon Sanderson

So, you're not quite using the term right.

The terms "end-negative" and "end-positive" refer to a specific system--in most cases, we're talking about the individual(s) using the magic. Do you draw more magic out, or is it powered by your own native Investiture?

Awakening is what we call end-neutral, despite the fact that (obviously) the Breaths came from someone else in the first place. That's not the point in contention here--do the same number of Breaths (the same amount of Investiture) continue to exist in the system as you're manipulating the magic.

In something like AonDor, you are drawing out much more power than you put in--end-positive. That power is put to work doing something, such as healing a body, or creating a blast of power.

The skaze, like the seons, were created when a Shard was Splintered. The terminology doesn't quite work there, at least not in the way that scholars in the cosmere would use it.

The question from the physicist in this thread about where Investiture goes, and what it means for a Shard to have access to certain amounts of power, is related to all of this. I'm hoping to be able to find some time to craft a response there, as there are some fundamental understandings of the magic that are relevant to the discussion that I should point out.

Brandon Sanderson

Chapter Fifty-Eight - Part One

Spacing Out the Climaxes

I tried something new in this book. I've been criticized—rightly—in the past for cramming too much into my endings. A good, fast-paced ending is great, but when you layer climax on top of climax, a little of it gets lost. I've been trying, therefore, to plot things so that we end up with the important climaxes spaced more evenly. My hope is to not lose any of the tension or drama, but to have the climaxes be more focused by not letting them interfere as much with each other.

We're seeing this here with Spook. This chapter is, essentially, the climax of his scenes. We'll have some smaller chapters involving him later in the book, but his storyline pretty much ends here (save for one loose end). Hopefully, by having this explosive chapter here, I can save the last third of the book to deal with the other characters, making the pacing a little more even.

Truthwatcher_17.5

Are we ever gonna see a Twinborn who has Feruchemical iron and Allomantic pewter, and he's pretty much-- sort of like how Ham was training Vin about how to use her body, and we just gonna see this amazing martial artist on a massive scale?

Brandon Sanderson

It is totally possible. I'm not gonna promise any given combination, 'cause the-- I've changed several times the powersets of characters while I'm planning, so.

argel1200

Regarding Ashraven... Would it be correct to say that memories are part of the mind/CR aspect? Assuming so, was Shai forging a new CR aspect to in-effect reconnect Ashraven's Soul (SR) with his body (PR)? I was thinking this could explain how she got his mannerisms correct -- i.e. that those are timeless SR aspects, so she didn't really get those right but instead, the SR connection was re-established?

Brandon Sanderson

Regarding Ashrovan: The problem here is that I don't want to get too deep into these sorts of things, for reasons that I want aspects of the magic to remain subject to discussion for a while yet. Suffice it to say that when we talk about Returned and lifeless in Warbreaker sequels, you'll have more ammunition for understanding what happened in Emperor's Soul.

Faera

Ashraven, Ashrovan...it's Ashravan damnit. He didn't step up to become emperor just so you could get his name wrong. Gaotona is ashamed of you all DX

Brandon Sanderson

In the original language, the a/o is very similar. I always get them mixed up in the English, like when I try to write aㅂsound from Korean in English.

Either that, or I just couldn't decide which one I wanted when writing the book, giving Peter a headache as he had to go back and standardize them all. :)

Herowannabe

Can an infused Hemalurgy spike be affected by Allomancy- steel pushes and iron pulls? Or does the charge interfere with the Allomancy much like a person's body would?

Brandon Sanderson

Anything infused (regardless of the world or magic that infused it) is resistant to magic. So you'd have a lot of trouble pushing or pulling on a spike, unless you had access to a boost of some sort to overcome the resistance.

WeiryWriter

The Nightwatcher is described as having an amorphous, vague, humanoid form of dark green mist with a smooth, defined face. This is similar to how the mistpren are described (faces like porcelain masks and bodies of swirling fog). Did the Nightwatcher serve as the progenitor of the mistspren similar to how Honor, and later the Stormfather, were progenitors of honorspren like Syl.

Brandon Sanderson

One more time.

WeiryWriter

...Did the Nightwatcher serve as the progenitor of the mistspren similar to how Honor, and later the Stormfather, were the progenitors of the honorspren like Syl.

Brandon Sanderson

...Are you talking about author inspirations or in-world sort of things?

WeiryWriter

Either.

Brandon Sanderson

No, not in-world. And out of world, it's the reverse. Mist spirits came before. I ended up doing--

WeiryWriter

No, mistspren.

Brandon Sanderson

Oh, mistspren. So you're saying the ones in Shadesmar... You're using terms for things, because I haven't given you other terms.

WeiryWriter

They are named mistpren in the books.

Brandon Sanderson

Yeah. So ask me one more time.

WeiryWriter

Did the Nightwatcher serve as the progenitor of the mistspren similar to how Honor and later the Stormfather were the progenitors of the honorspren like Syl.

Brandon Sanderson

Okay, I see what you're asking now. I was thinking mist spirit the whole time. We'll RAFO that. More because-- yeah we're just going to RAFO it.

Argent

About the Returned, they don’t quite fit the other Splinters, their Breath rather, because it’s the divine Breath that’s a Splinter, right?

Brandon Sanderson

Ehhhhhhh…. Ehhhhhhh....

Argent

Okay, that was vague.

Brandon Sanderson

Not a 100% correlation there.

Argent

So in that case it’s not entirely fair to say that the Returned are like vessels for--

Brandon Sanderson

No… Well, more vessels than the people that are in [T’Telir…]

So, Endowment is in control of what’s happening, right?

Argent

The giving of Breaths.

Brandon Sanderson

Yes. So what you’ve got to remember-- and this is something that people keep mistaking is-- something like a spren is still part of the god, right?  And it’s not that different from the fact that the rock has a part of the body in it, and that everything is kind of made—Like in Mistborn world in particular, everything is made out of their essence. And so, the Breath are similar, but it’s less that-- they’re not autonomous in most cases and it’s more like-- it’s like a hybrid of what’s happening in Mistborn where everybody’s got a bit of Preservation in them. Everyone’s got a bit of Endowment in them.

Argent

Innate Investiture.

Brandon Sanderson

Innate Investiture that they are born with.

Argent

I was looking to divine Breath, more specifically.

Brandon Sanderson

Oh divine Breath! … Divine Breath is its own special thing, and it’s more like what happened with the Honorblades, in that the god is pouring a bit of its Investiture, infusing the magic.

Stroniax

Is there a way to harvest BioChromatic Breath from a planet, if it holds any? (If a person dies, and their body turns to dusty he dust of the earth, then doesn't [Nalthis] therefore hold thousands, if not millions, of BioChromatic Breaths?)

Brandon Sanderson

Possible. It would be the same thing as harvesting the nature of Preservation or Ruin, which--on Scadrial--took the form of nuggets of metal.

Chaos (paraphrased)

Does being female alter the spiritual overlays on a person, so that a Hemalurgically imbued spike would need to be placed differently than in a male body?

Brandon Sanderson (paraphrased)

No. In fact, there are female inquisitors in the huge fight when Vin goes blasting through them, but he felt like bringing that out would have been distracting.

Joeh42

In Warbreaker, is Clod the Lifeless body of Arsteel? I like this idea because Arsteel would have had some Breaths within him when he died, as this is how Vashir defeated him and Denth, and this could help explain why he seems to be a little more self-aware than most Lifeless. Could you respond to this idea?

Brandon Sanderson

I confirmed in the Warbreaker annotations that Clod is Arsteel.

Clod is more self-aware than most Lifeless. There is something left of Arsteel within Clod. The Breaths that Vasher gave him when he killed him do have an effect on this.

Questioner

So MeLaan... Will she get her body remade by Ranette? With like guns and, like, pull of her leg and...?

Brandon Sanderson

You'll have to see what she comes up with. She's already got some cool stuff.

Brandon Sanderson

OreSeur's Betrayal

Several pieces had to come together to make this chapter work. Beyond the obvious Vin/Zane motivations, we had to understand OreSeur–or, actually, TenSoon–enough that his betrayal makes sense.

This is the great plotting device I stole from Mistborn Prime. The kandra are from that book, and the spy who turns out to be the hero's own kandra made for a wonderful plotting device. I had to do it again, lest the chance for that wonderful twist be lost.

The reason this works so well for me as a plot sequence is because I can see TenSoon's heart. He and Vin start off rough, and he has no problem planning to betray her. Yet as they grow to be friends, TenSoon grows tormented for the betrayal he was continually forced to perpetuate. It makes for very strong plotting and character on his part, and gives us a surprising bang of a twist here at a climactic scene. It also sets up wonderfully for him as a viewpoint character in Book Three.

Of course, some of you may have seen that he was the traitor. That's unfortunate, but expected. Readers are just too darn smart sometimes. If you didn't get it, then don't worry–you were just caught up in the story. There are an awful lot of clues, though. Any time Vin asks “OreSeur” about something from the past, he hedges, then guesses, and is hesitant. She notes a lot during the beginning of the book that he's acting oddly, not like himself, but attributes it to him being in the dog's body.

Questioner

I'm not sure if you're allowed to answer, or you've probably been asked a million times-- the idea of channeling-- the fact-- in the last book of The Wheel of Time--

Brandon Sanderson

Yes.

Questioner

You know what I'm talking about.

Brandon Sanderson

The One Power?

Questioner

The One Power, yeah. So Rand loses his ability to channel the One Power. But then--

Brandon Sanderson

Oh the True Power. Er, yeah yeah, the One Power, yeah yeah.

Questioner

Yeah, yeah. But he can channel-- Um, basically when he, you know, when he takes over Ishamael's body he can--Where did that idea come from?

Brandon Sanderson

That's Robert Jordan. He wrote the whole epilogue except for Perrin scenes.

Questioner

Oh, really?

Brandon Sanderson

And he wrote them as is and just left them and didn't explain to us.

Questioner

So the Perrin scenes were from you.

Brandon Sanderson

The Perrin scenes were from me. He didn't leave very much on Perrin--

Questioner

Oh that's amazing. Well done, cause I think the Perrin picked up right at the end too, so--

Brandon Sanderson

But the epilogue. He wrote that whole epilogue, from where Rand stumbles out of the... But when Rand stumbles out of the cavern, that's all Robert Jordan and--

Questioner

Wow, that's amazing.

Brandon Sanderson

He did not explain to us, how it... We just left it as is.

yulerule

I actually had like a really-- theory I was developing the past couple of weeks about Regrowth, and healing, and the Cognitive Realm. Let's take a look at this...

*Written/Paraphrased:* In the cosmere, you have matter, mind, and soul. Obviously, the physical world is most well understood (same as ours) and the spiritual is most mysterious. When anybody dies (going off from info in Secret History) their soul, which was tied to their body, the Connection is broken and the soul/Cognitive Shadow appears in the Cognitive Realm then goes on to the Spiritual. If healing is applied at any moment while the soul/Cognitive Shadow is in the Cognitive Realm, the Connection can be reestablished and that is why Regrowth can heal recently dead. Type of wound Shardblade versus not may determine how fast the Shadow is sucked into the Spiritual Realm. Also amount of Investiture a soul contains. Souls = Investiture, or at least all of them contain some?

Brandon Sanderson

So that's a RAFO. We'll dig into that a little later.

yulerule

Oh, *inaudible*. Am I close?

Brandon Sanderson

Yeah, you're on the right track.

LupusAstaris

Is there any specific instance where you hid something in one of your books that only other Mormons would recognize?

Brandon Sanderson

No, I don't really do this that much. Because my heritage and my faith are both LDS, there are certain things that other people have come to me and said, "Hey, was this influenced by your religion?" I'm like, "Ha, yeah, probably was." But I didn't sit down and hide things in there. Most of those are, people notice it and come to me and I'm like "Yeah, that probably did come from that." I'm sure there are some things.

Like, you asked specifically for members of the church, but there is a point in the Wheel of Time where Rand basically quotes a line in the Bible where God basically says, "Before all these other people, I AM. I existed then; I still exist." And one of the things that Jim liked to do was put references to Rand kind of echoing or fulfilling or starting mythological things that you can find in many different religions. And I put this thing where he says, "Before Lews Therin was, I am," into the Wheel of Time. That was less to be an Easter egg, and more because it's the sort of the thing that Robert Jordan did, and I wanted a few of those. Of course, I also have Rand perform one of the Buddha's famous miracles, which is being able to release both fire and ice from his body at the same time, which is one of the famous things of Siddhartha, the Buddha. So I was just kind of looking for things like that to put into the Wheel of Time for Rand.

But I'm drawing a blank on this. I'm sure there are some things that I've written that come from my heritage, that as I wrote them I'm like "Oh yeah, that's kind of like this," and that other people would notice. But I don't hide things like that, generally.

Brandon Sanderson

Meaning

Aon Ehe represents the primal force of Fire. A complex Aon with only basic symmetry, its form has often been likened to wisps of tickling fire burning out from a central coal.

While the many poets in history seem to have preferred the overall symmetry of an Aon like Aon Omi or Aon Rao, not a few preferred Aon Ehe for its distinctive look and feel. (Much like Aon Shao, this Aon breaks with traditional Aon form in appearance.) For this reason, and because of the destructive yet vital power of fire, the Poet Lenehe of the fifth century named Aon Ehe “The most inspiring of all Aons, a symbol for those with a creative heart and an unhindered mind.”

Recently, this Aon–easily recognizable, even to the uneducated–has become synonymous with ‘Danger,’ and is used as a warning. In many cases, in fact, it is printed on warnings which have nothing at all to do with fire. One might find it upon an unsteady bridge or a wood hiding dangerous wolves just as easily as one might find it referencing actual flames.

History And Use

All Aons exist independent of humankind, their symbols inherently tied to their meaning, but few have distinct origin stories explaining how the Aon was first discovered. Some modern scholars scoff at such tales, but Aon Ehe’s origin myth is well known among the common people and believed by most.

The story tells of the first princess of Arelon. This was some years after the founding of Arelon following the migration of the Aonic people from other lands. Elantris, of course, had already existed as a city when that migration occurred, and had been discovered empty. While some people assumed it haunted, Proud King Rhashm (later renamed Raoshem) determined to conquer the fears of his people and set up a kingdom centered on Elantris.

The transformation of the first Elantrians happened beginning several decades later. Princess Elashe–the first of Raoshem’s line to be chosen as an Elantrian–claimed to have seen the pattern of this Aon inscribed on a coal in her hearth the day after she underwent the transformation. Whether or not this story is true, a coal or rock written with Aon Ehe on it is considered good luck and a ward against winter spirits. (Though this kind of superstition is frowned upon by the Korathi priests.)

Other uses of Ehe are plentiful. It is one of the primal elements, and is often used in scientific writings. It is a ward and warning against danger. It is used on signs in conjunction with other Aons to mean warm food or warm beds available. Some artists and poets choose it as their symbol, both to hint at the dangerous nature of artistry and to speak of the passion of artistry.

Naming and Usage in ELANTRIS

Aon Ehe is often mispronounced as “E-hay.” Though scholars of Aonic insist that the proper term, “E-Hee” is more accurate, the former is slowly being acknowledged as an acceptable pronunciation as well. It is infrequently used in names during modern days, as the meaning ‘Danger’ is seen as unfavorable. However, historically, it was a favorite Aon for poets and artists (who often took new names for themselves when entering into their maturity as an artist, a tradition by which they removed themselves from their old body of work and indicated that they were beginning anew.)

Some famous examples of names from Aon Ehe include the poet Ehen, the artist Ehelan, and Mehen the philosopher.

AonDor

Aon Ehe is one of the most spectacular, useful, and awe inspiring of base Aons when used by an Elantrian. There are many Aons which have destructive or powerful effects, but none are as strong without modification as Aon Ehe.

Drawn simply, the Aon creates a column of flame, acting as a direct and primal conduit to the Dor itself. The diameter of the column depends on the size of the Aon drawn, and the direction the column is launched depends on the direction the Aon is facing. Often, this Aon is drawn on the floor so that a column of pure fire can be launched up into the air. The column is brief–only lasting a few seconds–but incredibly powerful.

With some enhancement modifiers, this Aon can be made to last longer. The pre-Reod AonDor scholars crafted lamps with flames that continued to burn no matter which way they were turned. They would even continue to burn beneath water. This Aon can be used in warfare, if necessary, though Aon Daa is generally a better weapon.

As a modifier, Aon Ehe can be used to create a ward that sets off other Aon chains. It provides one of the more useful tools in an AonDor practitioner’s repertoire, though the difficulty in drawing it can make it difficult to use for the less talented.

Brandon Sanderson

Clubs and Dockson die

And, speaking of Breeze, here we have Clubs's death scene, as seen by Breeze. So, in truth, Spook was prophetic when he said that Clubs had said good bye to him for good.

The simple truth is that felt I had too many characters in the books. I couldn't flesh them all out, and I really needed to get rid of a few. Clubs was, unfortunately, one of the casualties.

Of course, I didn't just kill him because I had too many characters cluttering the story. That was one of many reasons. I knew that I couldn't go through a siege without losing a few characters. It just wasn't realistic. The characters had dreaded this conflict too much, and they knew it was going to be dangerous–probably deadly–when the invasion came. I often say that I feel I can't protect my characters from the decisions they make. I did write in a little more power to some of Clubs' scenes in the book once it was certain that he would die here. The interactions between him and Sazed and him and Breeze in this novel were there partially because I knew he was going to die, and I wanted to give him some chances to participate in the story before going.

Dockson was the other one I decided to kill. In the initial draft, the scene with him dying ended with a koloss killing him from behind, without him looking at it.

My alpha readers complained profusely about this. So, at the request mainly of my friend Skar, I let Dockson grab a sword and charge before dying. Another send-off for Dockson is the comment he makes, noting that if the crew done things differently, turning on the nobility as he had wanted to in book one, he and the others would have been no better than beasts. It's his way of acknowledging that they'd done the right thing, and is a little bit of a redemption for him. He'd tried very hard to work with the noblemen, to make up for the atrocities he committed during younger years.

The final reason that I knew Dockson and Clubs had to die was because I wanted to REALLY make you think that Sazed was going to die too. If everything is working right in these chapters, you'll be sitting there, knowing that Vin is going to arrive in time. Yet, you'll question, you'll worry, and you'll begin to fret. You'll see Clubs drop, then Dockson die, in rapid succession. Then we come to Sazed, and he falls, out of metals, out of hope.

That's when I bring Vin in.

Brandon Sanderson

Series Wrap-Up

First Trilogy

Well, that's my first trilogy. I think I improved quite a bit as I wrote these books, and hopefully this ending will satisfy my readers. The inevitable question is going to be "Will there be more Mistborn books?" The answer is "Probably." However, know a few things.

First off, the next series—if I do it—will not include Vin or Elend. They're dead. That's just the way it is. Sorry.

Sazed might make an appearance. He is God, after all. TenSoon is still around. (Sazed stuck the spikes back into him and the other kandra.) Marsh may or may not make an appearance. (I haven't decided if he will survive or not.)

Spook, Ham, and Breeze probably won't make an appearance, though, as I would plan to write the next series some five hundred years after the events in this trilogy. (Remember, TenSoon—as a kandra—is immortal. Marsh is also functionally immortal, as he's both a Feruchemist and an Allomancer, and can combine the powers to reverse his aging. Assuming he has enough atium left from that batch he stole to keep it up for a while, and assuming he managed to grab some cover before the world ended.)

However, this won't be for some time. I've got other projects I want to do, not the least of which is Warbreaker and (probably) its sequel. After that, I want to try a longer series, maybe a five- or six-book one. [Editor's note: Brandon was referring to the Dragonsteel series, which he's now put off in favor of the Stormlight Archive, book one of which, The Way of Kings, comes out on August 31, 2010.]

We shall see.

trevorade

Is investiture finite? Hemalurgy and a Return's need to consume breath seems to show us that it can be destroyed. If it is finite, is the Cosmere's magic source doomed to the law of entropy?

Brandon Sanderson

Investiture can not be created or destroyed. It follows it's own version of the laws of Thermodynamics.

Joe_____

So what happens to the investiture that is lost when a person is spiked and the spike isn't set in the new person immediately? Does it return to the big pool of investiture in the sky like the power from wheel of time where if its not actively being used it returns to the source?

Brandon Sanderson

What happens to someone's body when it's not being used by a particular person? The system is built to work like that.

Questioner

Why was Dalinar able to feel the Thrill during his visions from the Stormfather?

Brandon Sanderson

Why was Dalinar able to feel the Thrill during his visions from the Stormfather. Well that would indicate that the same reason he feels the Thrill now still was in existence. Well not-- I mean was still affecting him. Does that make sense? He was in the real world, his body was in the real world. Whatever makes him feel the Thrill was still affecting him. Does that make any sense?

Questioner 1

So the Sleepless kind of have me wondering about what sentience is in the cosmere. Like how would a Sleepless manifest on the Cognitive Realm--

Brandon Sanderson

That's a good question, you'll-- that I'll RAFO. But they are a single consciousness, but they would argue that all your cells are independent of you. So they are cells that can move around. They're really fun... they started in a non-cosmere book when I was 22. Obviously a bit inspired by Fire Upon the Deep, one of my favorite science fiction books. And I read that book and I'm like, "Group consciousnesses are cool!" what if you had a species that was made up of-- Not like one of these Ender's Game y'know, one, but each swarm was an individual and they could breed and evolve their own things to do different stuff. So each of these little bits, these hordelings is what I call them-- I might change because we've got cremling now. But each of these little bits is bred for a specific purpose, "Feed the swarm" and stuff like that. So they've got all kinds of cool stuff going on.

Questioner 1

Are they slivers?

Brandon Sanderson

Oh slivers. Not quite like slivers. Slivers are a little more that whole Ender's Game thing, right? And this is actually an individual that's not a hivemind. This is an individual, single consciousness, and they've got a step between cell and body. We kind of do too, like mitochondria are kind of "What are these? Are these things we ingested somehow and got working for us?" It's all very cool.

Questioner 2

So is it like Malazan Book of the Fallen, like the D'ivers?

Brandon Sanderson

Ehhh, there's little--

Questioner 2

Okay, a little?

Brandon Sanderson

Yeah.

Brandon Sanderson

Vasher Fights the Guards, Then Creates a Lifeless Squirrel

I wanted to show the creation of a Lifeless somewhere in this book, as I think the process is interesting. The draining of color happens in a slightly different way than in regular Awakening, though it's similar. In this case, the creature draws color from its own body in order to come to life.

The better your imagining of the Command when you make it (not the orders you give it, but the one when you give it the Breath), the more intelligent and capable of following orders the Lifeless is. Later in the book, for instance, people are surprised at how good this little squirrel is at doing what it is told.