Found 360 entries in 0.115 seconds.
I gotta ask, are you going to give us any sort of backstory prior to Dragonsteel coming out? Of Hoid?
You will get little snippets here and there but really it's when you get his story that you are going to get the fully story of Adonalsium shattering. I have to leave it at snippets until then, because anything I give you is as a snippet now is canonizing something that I'm going to write later on. So I have to leave it at the stuff I know is going to be in there.
How did you come up with Shardblades?
Here's the thing, I've seen a lot of fantasy art-- I love fantasy books, right-- and people often depict these enormous swords, which are completely impractical. So one of my pitches for Stormlight was "I want a world where they had to have weapons like they depict in this fantasy art" and I retrofitted it, what would they need these to actually fight? So that was the pitch for myself on Shardblades. And I was also annoyed that the coolest magic swords were in a science fiction story, Star Wars, I want cool magic swords that are not in a science fiction story.
My question is connected to an acquaintance of both of us. Namely, a lovely, lovely Australian named Shad, who is an expert in weapons and medieval warfare. It is very easy to criticize books and everything about *interjection* because we have the real things in the world, but in all of your books, you have created magic systems that are so... real. How is the initial thought when you create a new world, what is the initial process of creating a new magic system?
Yeah, so first I'll point you toward my essays called "Sanderson's Laws", which are basically stepping through the rules I follow to make a magic system. There's three of those. I would recommend going and reading those.
The process is really me trying to create something that is both different and unique and something that approaches the theme of the story the right way. Like, I want a magic system that accents my story, not one that contradicts my story. And these things all come together into it: I'm looking for interesting flaws, interesting costs, interesting powers, and interesting connections to the rest of my world.
Syl gives Kaladin the choice to have any number of weapons or a shield. Pattern can be equally a sword or a small knife. Are spren limited to being items of war or could they be put to other uses? Could the surge binders less geared toward battle use their spren to make ladders, rope, etc?
No, this is not restricted to articles of war.
Why is Kaladin so proficient-- Like naturally born to wield a spear. Is that a weapon he likes or is it a destiny for him?
So destiny is a strong term... I would say he has natural aptitude, but no more so than a normal person who has a natural aptitude for something. But the way the Spiritual Realm works in the cosmere and the way Connection works, there were certain things that were happening to Kaladin before they happened...
It's like Syl says in one of the books. "You didn't know me then, but I knew you then. Even though we hadn't met yet, I still knew you." You see some weird Connection things too. And these are mostly just for fun sort of cosmere connections. Like when you see Syl take on the look of Shallan standing on the beach. There's gonna be a connection there. It's forming, it doesn't exist yet, but all things are one in the Spiritual Realm, and we're just kinda seeing echoes of that. It's not meant to be destiny, it's more meant to be, "Hey there's little connections happening".
I would not say Kaladin is any more naturally gifted in that than your average professional sports player is naturally gifted in what they do.
How are you going to finish the cosmere stuff? Like when you get to book 35, how are you gonna resist like book 36, we're gonna say "Courage is held by dude named Steve and according to Hoid he's pretty cool." Just extend it another ... how are you going to finish?
We'll see. We will see. The thing is there's a beginning, middle, and end to the Shattering of Adonalsium and the involvement there. More stories can be told in the cosmere, but there's a beginning, middle, and end to that. When I finish that, that is the sequence that I wanted to tell.
And you have that outlined out?
I do.
In the reading that you did, the Nahel bond, has it changed?
Yes. So, spren were added, and things like that. What [Taln?] had would still be called a Nahel bond. A Nahel bond in the original definition means bond to divinity, but that's come to encompass a lot more in the cosmere, any time you're bonding with-- the bond between a soul and Investiture. But in the original version, it was more only with a Shard of Adonalsium or something like that.
Did the Physical, Spiritual, and Cognitive Realms exist before Adonalsium split?
They did. In fact, if you can ever get a hold of Dragonsteel, (Which I don't let a lot of people read because it's got big spoilers and it doesn't really work anymore. It was one of the early books I wrote. It is the prelude to the Cosmere.) the opening chapters are in a classroom where someone is learning about the three aspects. So, yeah.
What's it feel like to finally have your baby released to the public? It's probably a very different feeling from any of your other book launches.
Yeah.
Are you more nervous than usual or have the positive ARC compliments made you feel fairly confident?
I'm more nervous than normal. It has been my baby for a long time, and I got Tor to invest so much into it, what with the cover, the interior art, the end pages, the really nice printing, and the sheer length of it. Tor would really rather not publish books of this length. The rest of the series will be shorter; I promised that to them. I do want to warn readers that the 400,000 word length is not going to be the standard for the series. They're probably going to be more like 300,000 words, which is what this one should have been, but I just couldn't get it down. It was right for the book for it to be this length.
I'm worried about it for a couple of reasons. Number one, it is a departure for me in a couple of ways. I've been planning a big massive epic for a long time but I only wanted to have one or two big massive epics. My Adonalsium mythos couldn't support multiples of something this long and so a lot of my other books are much more fast-paced and I do wonder what readers are going to think of a much larger more epic story, because it is going to have a different feel.
It's happened every time I've released a book though; Warbreaker felt very different from Mistborn, which felt very different from Elantris. Way of Kings feels very different from all of those as well so I'm worried that there are a lot of readers who are not going to like it as much. I hope that there are a lot of readers who are going to like it more, but we'll have to just see what people think of it.
Shalash will be having back-five flashback POVs. In Oathbringer, you seemed to portray her as pre-Shattering. For example, "Oh, Adonalsium!" and referring to Hoid as Midius. Will later Stormlight books focus on pre-Shattering stuff at all or will we have to wait for Dragonsteel for that?
There will be more of a pre-Shattering focus, but not as much as you're probably hoping.
Can you Soulcast aluminum into other materials?
Aluminum would strongly resist any sort of Soulcasting.
Would that resistance be overcome? Could be overcome?
This is the question. Everything can be, right? Aluminum, in the cosmere, was created. And can be created. So, people ask me this, "Can? Cannot?" Like, with a powerful enough magnet in our world, what can you do? Like, is water magnetic? ...But, could you make water respond to a magnet? Yes! You can make anything if you really try hard enough... It's, like, this idea, that when people are like, "Can you, yes or no?" Well... yes! Would it take the power of six Shards of Adonalsium working together? Maybe! Can you? Yes, you probably can. Like, we're talking about a fantasy universe where almost anything is possible, and the impossibilities are contradictions, it's "how many angels can dance on the head of a pin" sort of questions when you get into "can you?"
Now, could you Soulcast aluminum using a reasonable amount of energy that an individual could conceivably have in a normal setting and situation? No. If that's what you're looking for.
Is there any meaning behind the name "Adonalsium", that we could know in the moment or find out?
Other than the fact that I look to real world languages for inspirations in order to evoke the right feelings... If we technically go into how these names were in the cosmere, they may not actually be those names. I'm picking names that evoke the right things to people in our world.
Dragons are often depicted as much more intelligent and/or powerful than humans. Are dragons in the Cosmere better equipped to handle the power or psychological influence of becoming the Vessel for a Shard of Adonalsium?
I would say that... RAFO. That's not where I thought you were going to go with that, so I was planning to answer a different question. The one that you asked I will say RAFO to.
Do you want to tell the chat what question you thought they were going to ask?
They are better suited toward long lifespans, which makes them... But I would not say that a dragon in the Cosmere is born more wise than a human.
In The Way of Kings, Chapter 54: Gibletish, Dalinar has a brief conversation with Brightlord Hatham, one of his ardents, and a few other people. During the conversation the ardent uses the word "soil" in a way most Rosharans wouldn’t. After the conversation he tells Dalinar of "our goodwill toward you" and that "we will speak with you again." The odd use of the word "soil" combined with what could be a vague reference to the ardent’s associated with a group other than the ardentia has led some of us to believe he might be a worldhopper. Plus, we know Nazh is around in the area, or will arrive soon. Is there truth to this idea, or are we overthinking this?
Alethi use the word "soil" on occasion in their language to mean "dirtied" or similar. It's a holdover from an earlier time. But they don't associate it with the ground, and if you see it used instead of stone like in this quote, it should indeed raise an eyebrow.
Sooo... I mean, my eyebrow was already raised. :D Let's not bait the RAFO too hard, and drop the worldhopper part - is there more to this particular ardent than meets the eye? :)
Wait, hold up. How can "soil" be a holdover from an earlier time if Roshar was always a rocky place? Or did you mean that it's one of those words that carried over from Yolish, or whatever other language people spoke before they migrated to Roshar (like "hound")?
It is similar to hound, which is one of the ones that Hoid pointed out as an oddity. But people did not migrate from Yolen to Roshar. Roshar was inhabited before the shattering of Adonalsium.
Hmm. I am rusty on my Roshar history, I'll have to review what we know the topic. I know Roshar existed before the Shattering, and it was presumably populated, but I didn't think there had been humans there. They don't feel native. I've been working under the assumption that the Parshendi were native (maybe), but the humans came from somewhere - the Tranquiline Halls myths also kind of support that.
Or have I missed something?
Technically, what I said doesn't actually contradict anything you just said. But just to be extra safe: RAFO. I have to keep a FEW secrets safe from you people to come out in the books. :)
Mraize's Basement Emporium. Is that more like a trophy room or a "In case of emergencies" room?
Or a bank vault?
Or a weapon's vault?
Or both?
So, yes...
I mean, he can't use the aether, right? ...He can't use the aether, he doesn't have an aether. But the sand, the sand does stuff. So a handful of sand is a really useful amount of sand to have if you're not a sandmaster. Because sand reacts to Investiture. So if you let it fade and you take it somewhere, as soon as Investiture goes kinetic, it'll turn white again. So you'll be able to use it to tell who's using Inve-- it works just like a Seeker, like bronze pulses...
So having white sand, having sand around is really good. If you can keep the little beasties that are growing on the sand around, they will react to basically the Investiture equivalent of radiation. So that's handy.
Would it be better to create a weapon with one soul from a person with a forceful personality, or one with many souls of no particular importance?
In this world, one forceful soul is generally gonna serve you better. Remember, power is a vague term. What is more powerful? I’ve joked about writing a book (I still want to do this some day, but it’s very far down the list) about the most powerful sword ever existed. It has 780 different powers. It’s full of the most powers. Almost all of them are useless. But it is technically the most power-full sword ever created.
But you want one forceful soul. In this case, it’s gonna serve you way better. Maybe not necessarily in super raw power, but in nine out of ten times, you’re gonna want that one soul.
At what point did you go, "Elantris was good, Mistborn was good, now let's do 40 more books"?
So, a brief, brief history (writer's side, not the in-world side) of the Cosmere is this. So, Elantris was written without the cosmere in mind. This was-- Elantris was the first, kind of, book in my--
So, the way my history works, I was told early on that your first five books are generally terrible. And this was actually really relieving to me, because I'm like "Oh, I don't have to be good until book six." So I wrote five books as, just, lots of experimenting. Lots of different types of stories. And I didn't really even try, I sent one or two of them out, but I didn't really aggressively try to publish them. They were White Sand--not White Sand that you can get from my newsletter signup, an earlier version--which is my first book. And then Star's End, which was a little science fiction book, and then a sequel to White Sand, and something called Knight Life, which was a comedy. Yes. But bits of that got repurposed into Alcatraz. And then The Sixth Incarnation of Pandora, which was a weird cyberpunk, far-future thing. And I got done with all of those, and I'm like, "All right. I kind of know what I want to do. I thought it was epic fantasy. I now know it's epic fantasy." And then I wrote Elantris. My next books were Elantris, a rewrite of White Sand, and Dragonsteel. And this was kind of me exploring "What do I want to do? How do I want to-- What is my-- What do I want to add to this genre?"
But the idea of the interconnected universe grew out of doing these things, writing these books. I started planning The Way of Kings then, I started planning the book that became Warbreaker then. It was called Mythwalker at the time. And I wrote a book called The Final Empire and a another one called Mistborn, which are neither of the ones that you guys actually have read. What eventually happened, is when I sold Elantris, this whole thing of the cosmere had really come together, this is what I wanted to do, I was really excited by it.
And so, the first book that I wrote knowing about the cosmere was Mistborn. And Elantris got retrofitted into this as I was writing the Mistborn trilogy. And it was while I was working on the Mistborn trilogy that I made the nine book arc that is kind of the core, though-line of the Cosmere, the past/present/future Mistborn. I called my editor in... 2005 with a really big, exciting, sort of huge outline for 40 books (it was 32 back then), I'm like, "It's gonna be this, it's gonna be this, it connects here, and all this stuff--" That's when it all kind of happened, and I built that all out. It was the process of working on the Mistborn original trilogy and building out the nine book arc for those that really solidified a lot of these ideas. By then, I had written Dragonsteel, so I knew--- Dragonsteel was book number seven, so I knew about Adonalsium and all of this stuff, but it was really kind of in Mistborn where I decided how I was gonna incorporate all of that. And even then, even in Mistborn, there are still things that I was still putting together.
So, yeah. There's a brief history of it. By the time I had those three books done, 'cause I wrote them in a row, I was pretty solid on how all of this was gonna come together.
How do you make up names and words for your fantasy settings?
Mostly, I choose an earth culture (or two) to base my linguistic influences on. For instance, in the Mistborn books, I used French. It's obvious in words like Fellise, Renoux, Blanches, Delouse and Demoux. Less obvious is Kelsier, whose name would be pronounced in-world without the last R sound.
Do you think you'll ever develop a language like Tolkien did?
Maybe. I did a lot of that in White Sand, which didn’t get published. I’ll do more for other books.
Do you use Hebrew words?
The name Adonalsium is derived from a Hebrew name for God, Adonai and Aharietiam was derived from the Hebrew/Jewish term for the end of days acharit hayamim or אחרית הימים
So a friend and I who share a passion for sword fighting have been trying to find the real world correlates for the stances that Sharbearers use. So far we've made connections between Windstance and Haidong Gumdo, and Smokestance and the late Medieval/early Renaissance fencing. I was wondering if you could give us more information or at least hints on the other real world correlates?
I developed these with Ben McSweeney's help, and we plan to include representations of all the stances eventually. However, a few are NOT based on real-world equivalents, because of the size of Shardblades. Look at how various very-large weapons like zweihanders or Zanbat's were used.
I'm just curious, there are 16 Allomantic metals, 16 Feruchemical metals, there are 16 Shards of Adonalsium. Are there 16 surges?
No.
So there's no correlation?
10 is an important number on Roshar.
I am interested to know the concept behind the cosmere symbol in [Arcanum Unbounded].
This came about after about a dozen or two other sketches, some more complex, some less. Some more laden with meaning; some less. We wanted something simple and evocative of the cosmology. There IS some symbolism here; see the 16 points on the inner star....
The thoughts are the 16 points are Adonalsium, the 3 shapes around are the 3 realms. The other is that the symbol is meant to represent the movement of the shards throughout the cosmere.
Each point you mention is something I considered when designing the symbol and intentionally built into it. Glad people are seeing it!
Tertiary Projects
Dragonsteel
This story (the story of the shattering of Adonalsium, as told by Hoid) is next-to-last in my sequence of cosmere novels (though it's first chronologically). So don't expect it until Stormlight 10 is done.
Status: A long way off. Though it might still beat that one book by that other author.
1) Brandon, multi-volume epic fantasy presents unique storytelling challenges and unique demands upon a reader. You said in your essay that with The Stormlight Archive, "I didn't want to intentionally build a story where I relied upon reader expectations." But I assume you meant that in a specific rather than a global way: you do intend that subplots will get wrapped up eventually, that there is a main plot, that characters have arcs, and that the story has an ending...right?
2) If that's a valid assumption, then as a storyteller chunking a story out in ten volumes, how much do you worry about imposing the traditional limits of a novel on each volume? (i.e. Chekhov's Gun: "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it must absolutely go off. If it's not going to be fired, it shouldn't be hanging there.")
For example, I wrote a scene for The Black Prism which was interesting in its own right and introduced a cool monster and a setting that I plan to use later in the trilogy—but it didn't accomplish anything necessary for book 1. It slowed the headlong rush to the end of the book; it looked like gratuitous worldbuilding. It wasn't, but a critic wouldn't know that until they read book 3—which I haven't yet written. So I cut it.
Would you have? Would you have cut an analogous scene in Mistborn 1, but not from TSA 1?
Are you writing these books so that each volume has that rousing, bang-up finish, or are you fine with a cliffhanger, content that the series must be judged as a whole? In a ten-volume epic, do you conceive of them as telling one story or ten stories? Or both? Or more?
The short answer to your first comment is a yes, you are right. The realization I came to while working on The Way of Kings was that I was so accustomed to writing self-aware fantasy in the Mistborn books that I was searching to do the same with Kings. While anyone can enjoy Mistborn (I hope) it works best as a series for those who are familiar with (and expecting) tropes of epic fantasy to come their direction. That allows me to play with conventions and use reader expectations in a delightful way. But it also means that if you don't know those conventions, the story loses a little of its impact.
But this is an interesting discussion as to the larger form of a novel. Is it okay, in an epic fantasy, to hang a gun on the mantle, then not fire it until book ten of the series written fifteen years later? Will people wait that long? Will it even be meaningful? My general instincts as a writer so far have been to make sure those guns are there, but to obscure them—or at least downplay them. People say this is so that I can be more surprising. But it's partially so that those weapons are there when I need them.
It often seems to me that so much in a book is about effective foreshadowing. This deserves more attention than we give it credit. When readers have problems with characters being inconsistent, you could say this is a foreshadowing problem—the changes, or potential for change, within the character has not been presented in the right way. When you have a deus ex machina ending, you could argue that the problem was not in the ending, but the lack of proper framework at the start. Some of the biggest problems in books that are otherwise technically sound come from the lack of proper groundwork.
In the case you mentioned, however, I think I would have cut the creature. Because you said it was slowing things down. There's an old rule of thumb in screenwriting that I've heard expressed in several ways, and think it works well applied to fiction. Don't save your best storytelling for the sequel. If your best storytelling isn't up front, you won't get a sequel. Of course, once you're done, you do need to come up with something as good or better for the sequel, otherwise it might not be worth writing.
For The Way of Kings, I've had to walk a very careful balance. I do have ten books planned, but I had to make sure I was putting my best foot forward for the first book. I had to hang guns for the later novels, but not make this story about them—otherwise readers would be unsatisfied to only get part of a story.
You seem to be adept at creating interesting magic systems for your worlds - what is your creative process for creating something of this sort? Any hints as to what the next one might involve?
Next two magic systems you might see:
1) Disease magic. Bacteria have evolved to the point that they try to keep their hosts alive by granting them magical powers while you have the disease. So, you catch a cold, and can fly until you get over it.
2) I've got a very cool 'throwing spheres of light' magic that I'm working on...which, when you break it down, was inspired by seeing how accurate baseball pitchers were and thinking about how that could be weaponized in a fantasy world.
3) That guy with his ice soap has me thinking about "freezing stuff in water" magic. Like, potions that do things only after they thaw...
If you were entrusted with a Shard of Adonalsium, which Shard?
Ummm... Heh heh heh... maybe Ingenuity.
Would it be possible for an inanimate object that was invested to the point of sentience Ascend to Shardhood?
To become a Vessel of Adonalsium, or become a Shard through...? This is a tricky question because the power left alone will become sapient. And at that point, the distinction between being a Shard and a Vessel is fine but still extant. And I would say the power could not become a Vessel in the same way because it's defined as something different. But it is possible for the power to be left alone and to gain sapience on its own.
The example we were thinking of was Sel. It was stated in Arcanum that the landscape itself was invested to the point of.. Could the planet of Sel be the Vessel of Devotion?
At this point, it's playing semantics, and I would say no. But there are people in-Cosmere that would argue that the semantic distinction is irrelevant and that it is the same.
My question is about biology and genetics. We've seen that magical systems rely on *inaudible* genetics, like allomancy, or spiritual DNA. Can we use *inaudible* CRISPR to either weaponize or take someone's magical ability or give them a magical ability?
Kind of. The in-world version of this is Hemalurgy, as you already know. There are methods that would do this, but straight genetics alone with CRISPR wouldn't do it. You need the spiritual component for these to work, almost assuredly. You might be able to use CRISPR... no, I don't think there are any of them it would work on. Is it possible you could make someone into a kandra? That may be possible, right? But I'm not 100% sure on that.
Can you use CRISPR with Ashyn viruses or bacteria?
Probably not, but that's more likely. I'd have to think on that. I'm gonna say "probably not" for now, but we'll minorly RAFO that. Good questions.
At the last signing event, I was asking about a Shard[blade] and paint, if it disappears, comes back, what happens? You said the paint never disappeared with it. But you seemed intrigued by other possibilities, and then I thought of some too. One of them would be a foundry, showing people how to make weapons, you put your Shard in the sand, make a sword in there, dismiss it, fill it with your molten metal, stuff like that sounded like...interesting ideas.
I like that, I like that a lot.
<I asked if, in the future, he would have Lift use a trident as her main Shard weapon.>
There may very well be a trident in the upcoming book.
You dodged my question about Hoid's monologue during the stream, so let me ask a different one: is it relevant that Hoid lists four concepts together at the end of The Way of Kings? Intellect, artistry, and...
Yes.
And it's about the last Shard, the wisdom-adjacent one?
Yeah, you are thiiiiis close. Stormlight Five is going to come out and you're not going to be surprised. You're very close.
So we'll have all of Adonalsium named, all sixteen Shards?
Yes.
Kind of a similar question about the Midnight Essence, now that we have seen that crop up in Tress as well as in Stormlight Archive. Is something similar happening with the Midnight Essence? We have also the nightmares, in Yumi, that appear similar, they're also mimicking things.
So, there's a couple of things getting interwoven here. The actual idea of Midnight Essence is a concept like Lightweaving that predates the Shattering of Adonalsium, that various magic systems are basically "borrowing" a law of the cosmere and creating a parallel effect from the same basis, if that makes any sense.
Yumi is a little distinct from that. It's feeling similar; I would not call it true Midnight Essence. It's an awful lot more like a Lightweaving that has--because Lightweavings can have mass to them, because investiture can have mass to it--so you're looking a little bit more like... imagine a bunch of Stormlight becoming tangible, you can touch it, because of a powerful Lightweaving or something like that. Of course, these things all bleed together because I'm using the same fundamental principles to make them. But, for me, Midnight Essence has this personality that comes prefixed. What the Midnight Mother is making, what you're seeing in the Midnight Sea and things like this, you're gonna get some similar personalities to these things, and not necessarily the same with the nightmares.
So it's more of a autonomous-- a Lightweaving that's become autonomous and has kind of broken down a bit?
Yeah... the problem is it's also got the Cognitive Shadow, right? It's a really invested Cognitive Shadow that is borrowing this Investiture to interact with the world. Because these are their shadows; these are their Cognitive Shadows, all of these people's Cognitive Shadows. But the power is not themselves. Remember, a Cognitive Shadow is a little bit like a fossil, like Vasher describes it. You've got this pattern there, and then the power kind of makes it manifest and be able to interact, and things like that. And, when that personality asserts itself with that power in the right place, you end up with a person that is the shadow running it. But at the same time, you've got this mass of power and energy that the machine is kind of controlling, which pulls back and overrides the personality sometimes. You've got a very weird set of circumstances going on here.
But it was very fun to figure out all the backstory and the behind on it, and get it all working. This one was a little complex, to get these things all working behind the scenes. I like how they turned out. Yumi, if you dig into it, it has both pluses and minuses. The minuses is - from the beta readers and the alpha readers - the ending for non-arcanists was really overwhelming, which is why we have those Hoid scenes where he's like, "Okay, let me explain." It seems pretty obvious, I would expect that this is, like, "Alright, Brandon needs to do better explanations, Hoid's just gonna do it." But, because of all the work I did behind the scenes on Yumi, Yumi matches kind of cosmerological magic system stuff in ways that a lot of the side projects that I do just don't. Yumi is very deeply intertwined and following all of these processes in a way that works really well for me. But it also gets you into where you start to need a master's degree in the cosmere to figure it all out, which is why to make it easier, we have Hoid just spell it out for people. It is a little clunky; I prefer the clunkiness to the previous version where you needed a master's degree in the cosmere to understand even what was going on.
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.
So now that we know at least one group of Rosharans are aware of the Sleepless (the Horneaters), are there other Rosharans who know of them as well?
By which I mean - have the existence of the Sleepless influenced Irialian religion and the belief in the One?
There have been Iriali who know about the Sleepless, though the Iriali religion predates their arrival on Roshar. (That said, it has evolved during their time here.)
So the idea of the One - a single entity breaking down into smaller, constituent parts in order to gain diverse and varied experiences - predates the Iriali's contact with the Sleepless?
And now that I think more about this theme of a single entity breaking down (splintering/fracturing?) into smaller parts... could the belief in the One and the Many be influenced by the fracturing of Adonalsium? Or is this general theme just a coincidence?
The general theme is not a coincidence, but the Iriali having this philosophy predates me bringing the Sleepless into the Cosmere from another science fiction book I'd written during my early unpublished years.
I actually have a really good resource for you writers out there, if you want. There's a YouTube series done by historical fighting recreationists in the U.K. And a lot of times, if I'm like-- I was writing Oathbringer, my latest book, I'm like, "I need spear versus dagger." Which is, you don't want to be in that fight, but someone got in that fight, and I'm like "Alright, what are his chances, what would he do to actually win?" And I Googled on this YouTube series, which I really love, and lo and behold, they had 20 matches of dagger versus spear with some discussion about what the strategy for the dagger fighter was, and what the strategy for the spear fighter was. They played it out and showed you. The dagger fighter won a couple times, it's totally possible. Grab the front of the spear, yank them forward, get in close range. But it was really helpful. So this is called Schola Gladiatoria, on YouTube. I've been following it for years, and it's really great. You'll be able to find sets of, you, "here's 2 swords versus sword and shield." He also does reviews of historical weapons saying, "Here is what it was used for." He just really likes swords so he buys them frequently and talks about them. Really great resource.
How is Davriel pronounced? I know how much you love your long a's like with Adonalsium and Adolin, but then there's Scadrial with a short a. Which one is Davriel?
Short a. Dav, like have.
We've seen that the "Sylblade" can change shape to fit Kaladin's needs. Is there a limit on the size of the blade that Syl can become?
Yes.
Okay. And can you share with me what the upper limits on those sort of things would be?
Upper limits of hers are about human-sized.
Is it always going to be something that has to be a fighting utensil, or does it have to...?
That's going to RAFO. You'll have to see.
[...]
I will say this. You have seen Syl changing shape from the first time she appears onscreen and she is frequently not a weapon.
How much of the cosmere did you plan ahead when you started? What advice would you give for writing an extended universe, aside from making each book stand on its own?
You've got the most important one there already, so good for you.
I did not have most of the cosmere (in fact, any of the cosmere) really ready when I wrote Elantris. I have a big advantage in that my early books were terrible and didn't get published, and so when I did get published, I knew what I was doing, I had already written a bunch of these books, I had already started putting them in the same universe, and I was able to do a reboot, basically, from the beginning by releasing Elantris and Mistborn. If those early books had been published, then the cosmere would be a lot less cohesive than it is, because I was able to say, "Wow, someone bought Elantris (which was the first book I wrote back in the Cosmere sequence, back before I really knew it was going to be the Cosmere sequence)." When I put the pool in, I had no idea what the pool was. I just put it in. I'm like, "This is a cool thing. I'll figure out what to do with it." But, by the time I was writing Mistborn, I had put pools into things like Aether of Night, and I had the whole of Adonalsium (I came up with that while writing Dragonsteel, which was the book I wrote after Elantris). So, it was really fortunate that I was able to basically do a reboot and restart continuity by publishing Elantris and then writing the Mistborn trilogy, knowing by then about the whole cosmere and things like that.
In Dawnshard, we see a mural of Adonalsium being Shattered.
Yes.
It’s, like a circle that splits into four parts, and those four parts also split into four parts.
Yes.
So I’m wondering if there’s a way to group the Shards in terms of being, or…?
I would encourage people to be trying to figure this out.
I got a question about this and last week's epigraph.
The metals Fused use. How come nobody knows, guesses or even suspects that aluminium and its alloys are Investiture resistant? They know you can Soulcast something into aluminium, so they should also know it's impossible to Soulcast aluminium into something else.
And once they know about metal that cannot be Soulcast, they start experimenting with fabrials - they used that in construction of Fourth Bridge - and then the logical step is to test it against Shardblades.Probably experimenting with alloys of aluminium, too.
Yet the metal Fused use to make weapons resistant to Shardweapons is a mystery to them?
I feel like I'm missing something here.
They're getting to answers here. Problem is, metallurgy just isn't a big science on Roshar. I feel it's one of those things that is more easy to see externally than internally--and do remember that there are things like god metals (Shardblades, for example) that also behave strangely around investiture. They have far more experience with those than aluminum, which is more of a little historical oddity to them than a big revolutionary part of science. Add to that the fact that some of the metals the fused are using aren't aluminum, and...well, I don't think it's as obvious a leap as you're making it out to be.
So the Fused's fabrials are not 100% aluminum based? Or they are and they are struggling to reach that conclusion?
I think what you're asking will be answered in the book, so I'll RAFO for now.
What made you decide to canonize not one, not two, but FOUR new Shards? A whole quarter of Adonalsium in this book?
It had been long enough. I had been coy with them long enough. I had worked out enough of the outlines moving forward that I knew what Shards I needed and things like that, and they had gotten locked in enough that I could just do it. And they would mention it. We're getting to the point where if I didn't start mentioning them I'd have to do verbal gymnastics in the stories to not.
When Harmony is trying actively to figure out what happened, and who they all are, and where they all are. It was time for me to go ahead and stop dribbling that. The reason I was dribbling is there were still a few I was still deciding upon. And now that they're all locked in. There's no reason to hold it back.
I don't hold things back from you guys out of glee. I hold things back because narrative drama, and because things are not locked in yet.
So there's still two [Shards] we don't know. Do you have those locked down or are those still...?
Those are a little more vague, like I haven't picked the words for them. I look for the right word, and sometimes I have the word that's the wrong synonym. Odium in this case would be Hatred. Calling the villain Hatred doesn't work in the same way that calling the villain Odium works. I'm looking for those right words.
Will you tell us a little about the sword from Warbreaker?
Nightblood is a weapon that I devised. He is partially inspired by my love of Michael Moorcock's writing. He was built into the cosmere using many of the foundational cosmere magic system things that exist on multiple worlds.
As far as the Lord Ruler goes, how did he use the Twinborn thing? Feruchemy and Allomancy?
What he had to figure out how to do is: Allomancy is powered by Spiritual power directly from the Shard of Adonalsium. Whereas Feruchemy is powered by your own Investiture and effort being transferred into the thing. What he needed to do was figure out a way to power Feruchemy with Allomantic power, right? You could have done the same thing by fueling it with the Dor, or with Stormlight, or another external. But he only had access to three magics. So what he had to do was figure out that.
So what he's doing is, he's basically taking metals, (since he's a Feruchemist and an allomancers), and he is burning metals that he has Invested himself, but then using... basically, switching it so he gets a burst of Allomantic power that is charged with a Feruchemical attribute. So it's powering Feruchemy with Allomancy by burning the metal that he himself has Invested.
So he was essentially putting stuff into the metal?
Basically, priming the pump. He puts it in with Feruchemy. Then he burns it with Allomancy. But that fuels Feruchemy with Allomancy, which allows him to draw on the powers of the Shards, rather than himself. So it's not really a perpetual motion machine, because he's drawing the power from someone else. But it's external, which allows him to break the rules of Feruchemy.
The big question I have is: that works in the book, because you can dig into the technicalities of the book. But that's not gonna work in the movie, right? That explanation right there, that's so many levels over the heads of the audience. So I have to figure out a way to not break the cosmere magic, but make it simpler to understand in the movie. Which is the big headache in writing the screenplay. That's probably the biggest challenge in the screenplay is to figure out how to make that all work.
Of the people that were sick for the 16 days in comparison to just the one day, it is mentioned that they would be able to burn more precious metals (atium). Could it also be possible they are/were Mistborn—with the ability to burn all 16 metals?
Well, what was going on here was a clue established and set by Leras before he died. He wanted something to indicate—should he be unable to inform mankind—that what was happening wasn't natural, but instead something intentional. He worried that men wouldn't be able to realize they were being made into Allomancers.
And so, the mist was set to do something very specific, as has to do with the interaction between the human soul, Allomancy, and the sixteen metals.
Each of the 'Shardworlds' I've written in (Mistborn, Elantris, Warbreaker, Way of Kings) exists with the same cosmology. All things exist on three realms—the spiritual, the cognitive, and the physical. What's going on here is an interaction between the three realms. I don't want to bore you with my made up philosophy, but I do have a cohesive metaphysical reasoning for how my worlds and magic works. And there is a single plane of existence—called Shadesmar, the Cognative Realm—which connects them all.
You will never need to know any of this to read and enjoy my books, but there is an overarching story behind all of them, going on in the background. Adonalsium, Hoid, the origin of Ati, Leras, the Dor, and the Voice (from Warbreaker) are all tied up in this.
So, at the end of [Oathbringer], a certain Shard says "we killed you." Is "you" Adonalsium there? Or is that a [RAFO]?
That's a big RAFO!
Rosharans seem to love names containing words like "Shard" and "Dawn". Is "Dawnshard" a Roshar-specific word (like Shadesmar), and are Dawnshards named differently in other parts of the Cosmere?
It's more along the other way, that part of the reason they love the words [Dawn] and [Shard] is relating to these issues—relating to the existence of Dawnshards and Shards of Adonalsium and things like that.
So, in Secret History, Fuzz mentions a weapon that he buried? Is that the atium, or is that something else?
*hums* Go ahead Joel. *Joel holds up RAFO sign*
Say a Shard is splintered beyond recognition. Would some rather industrious people with something, perhaps like a Dawnshard, be able to change that Shard?
Yes, this is theoretically possible.
I wanted to ask about how we were just told you could use a Dawnshard to reshape a shattered Shard, perhaps into something different.
I didn't actually confirm that. They just said "maybe using a Dawnshard." They were looking "is there a way to do this?" And I'm saying, "There is theoretically a way to do this." Would a Dawnshard have to be involved? That is not something that I'm canonizing.
Is this the main reason that the Night Brigade is pursuing Zellion in pursuit of the Dawnshard?
The main reason that the Night Brigade is chasing Zellion is that the Dawnshards represent one of the most valuable things in the entire cosmere. Why are they that valuable? It's because they are one of the things that... I mean, the Dawnshards Shattered Adonalsium. That's what they did. And the Vessels are all very rightly scared of them. That would be the second main reason. There are other reasons.
Windrunner
I will protect
Windrunner oaths are themed toward protection, particularly defending innocents or those who are unable to protect themselves.
The Windrunners tend to attract “big sibling” types, who seek to protect the defenseless, but also enjoy action and fighting for what they believe in. They’re primarily scouts, though they often work as special forces groups, able to deliver teams of Radiants behind enemy lines for secret missions. They tend to be the most like conventional soldiers, believing in structures of command, team dynamics, and the importance of a squad of brothers and sisters. They often have larger numbers of squires than other Orders and focus more than any other Order on mastering their weapons.
After reading Mistborn, Elantris, and Warbreaker, I couldn't help but notice some recurring themes. What is it that entices you so much about the concept of living gods?
The idea of the Cosmere, the fundamental idea of the Cosmere, was: power of deity put in the hands of ordinary people. That is the Shattering of Adonalsium; that is the origin of the Shards. So when I built the Cosmere, that became one of the key themes of the Cosmere. And so, to tie all of these different books together (that are happening on different planets with different themes and characters and plots), I wanted some few things to link together. And that big linking connective tissue is: what do people do when they have the power of a god? Or even just a little fraction of it. What do they do with it? What happens? How do we explore that? And that theme is a connective tissue binding the Cosmere together, which is why you see me coming back to it time and time again.
Cultivation, Ruin, and Preservation seem like aspects of Adonalsium's cosmic nature rather than personality traits like other Shards. Is there a fourth Shard that is cosmic in nature?
I think they all are cosmic in nature. Even Honor, like you could say that's a personality trait, I don't think it is, I think it's a cosmic sense of justice and order, if that makes sense. We're phrasing it as a personality trait but that's not really what it is. There are those who would argue that the Shard of Honor is what makes things fall to the ground when you drop them and obey natural laws.
Assuming the Dawnshards each represent four Shards, and considering their Intents seem to be similar, are Endowment, Cultivation, and Ruin all from the same category? Are they all Change Shards?
Oh, I get what you're saying. I'm going to RAFO that for now.
