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Questioner

Kaladin kind of went back on his Oaths in the second book, right?

Brandon Sanderson

Yes. He started down that path.

Questioner

How could Shallan or Lightweavers go back on the truths they make? And did Shallan do any of that in Oathbringer?

Brandon Sanderson

No, the Cryptics-- remember, how the spren is viewing this is very important. The Cryptics have an interesting relationship with truth. Harder to break your Oaths in that direction with a Cryptic. Harder to move forward, also, if you're not facing some of these things and interacting with them in the right way. But, while I can conceive a world that it could happen, it'd be really hard to for a Lightweaver to do some of the stuff. Particularly the ones close to Honor, you're gonna end up with more trouble along those lines, let's say.

Questioner

So then, what happened with the Lightweavers during the Recreance? Did they break their Oaths?

Brandon Sanderson

They did break their Oaths. I mean, breaking your Oaths as in "walking away from the first Oath" will still do it, regardless of what Order you are. You can actively say, "I am breaking my Oaths and walking away." Anyone has that option. But you also are holding the life of a spren in your hand.

Brandon Sanderson

PART ONE: SECRET PROJECT UPDATES (Long—but important.)

Traditionally, the first big section of each State of the Sanderson focuses on my year and what I’ve written. I’m going to bump that down, however, and talk to you a little about the Kickstarter books—and what you all can expect. This is important information if you’re interested in the Secret Project books at all, regardless of whether you backed the Kickstarter or not. However, if you did back the Kickstarter, expect an update email in the next couple days with more details and instructions to prepare for the Year of Sanderson.

EBOOKS for BACKERS

On January first (and every three months thereafter) you will get an important email from us. In it will be a link to your BackerKit account, where you can download your copies of the Secret Projects. These will be DRM-free copies, in your choice of Epub or PDF. We will also include some instructions on how to get these onto common e-readers, like Kindle, if you want to read that way. It’s extremely important that your email address filed with BackerKit be up to date. If you aren’t sure, look HERE. 

EBOOKS for NON-BACKERS

If you didn’t back the Kickstarter, but want to read the books (and I hope you do!) they’ll be available starting the 10th or 11th of each month that a book ships to the backers. You’ll need to wait just a little longer than them, as we want to be absolutely certain that everyone has their copies and all is working before we sell them to anyone else. But they should be available on all platforms you expect—at least in English. 

AUDIOBOOKS for BACKERS

If you chose a backer tier in the Kickstarter that included audiobooks, you are going to have three ways to get your books. This is probably the most important section here, as—looking at the numbers—the majority of my fans prefer audiobooks these days. So pay attention.

FIRST: AUDIO FILES. You will be able to click that same link in your email to download the raw files in mp3 and m4b format, to put onto your device and listen as you want. We’ll include instructions on how to download and use a common audiobook player. This is because these books won’t be on Audible—we’re selling them ourselves. Indeed, one of the big reasons I did this Kickstarter like I did is because I worry about Audible’s dominance in the market. For that very same reason, I’m suggesting that instead of just listening to the raw files, you look at one of our partners listed next.

SECOND: SPOTIFY. Yes, Spotify does audiobooks now; they launched this in the US, UK and Australia earlier this year. And so, I’m extremely excited to say I’ve reached a deal with Spotify to distribute the Secret Projects—free for every backer who pledged a tier that included the audiobooks. Again, clicking the link in the email mentioned above will take you to a page that lists all your available downloads, as well as a unique code for Spotify. You’ll be able to use this code to unlock a free copy of the first Secret Project and listen on Spotify. (And you’ll get a new code every three months for the next ones.)

You need a Spotify account to do this (they are free), which is why we’re also giving you the option of the raw files. Using Spotify or our next partner isn’t required—however, I want to encourage it. I’ll explain more below, but I’m hoping that bolstering real competition to Audible will help all authors going forward. For the same reason, we have a third partner.

THIRD: SPEECHIFY. Speechify (no relation to Spotify) is a really cool service that does text-to-speech for people. It started as a tool to help those with dyslexia, something that is very important to me, as the father of a dyslexic son. (He uses his Speechify tablet daily to help him with his disability.) Speechify’s big thing is letting you see the text as you listen, to help both with reading comprehension and disability. And that they can turn any ebook or PDF into a high quality audiobook for you.

I have really enjoyed working with this company, and they want to move into a larger market. (They already have a sizable number of subscribers, but want to draw attention to their service by starting to offer audiobooks and ebooks for sale.) They have agreed to give each applicable backer an audiobook for each Secret Project as well. This makes it easier for you to access the books on your phones, so you don’t need to figure out how to download a massive audio file and lose your place in the book. Your unique code for Speechify will be available on that same BackerKit page, where you will find your available downloads. To get ready, just download Speechify by visiting https://speechify.com/sanderson (signing up is free). And you’ll get a new code every three months for the next ones.

Though keep in mind that Speechify’s audiobook store currently works only on iOS for iPhones with iPad support coming in January; their other products on Android, Web, and Google Chrome are due to add audiobooks and ebooks later in 2023. 

So feel free to pick your way to get the book! Or download all three versions, and see which experience is best for you! 

The only thing I ask is that, on your honor, you don’t give away or sell the codes. I’m giving you three options as a way to make this as convenient for you as possible, which is also the reason that the files from me also have no DRM. As always, I don’t mind (I even encourage it) if you share my books with family and friends, but in this case I would greatly prefer if you didn’t give away the extra codes you get. 

I’ll dive deep into more of why I picked these partners in the next section, which I encourage you to read, even if you’re a backer. 

AUDIOBOOKS for NON-BACKERS

On the tenth or eleventh of each month a book goes to backers, we will put the audiobooks up for sale. They will be on several services, but I recommend the two I mentioned above. Spotify and Speechify. 

The books will not be on Audible for the foreseeable future. 

This is a dangerous move on my part. I don’t want to make an enemy of Amazon (who owns Audible). I like the people at Audible, and had several meetings with them this year.

But Audible has grown to a place where it’s very bad for authors. It’s a good company doing bad things. 

Again, this is dangerous to say, and I don’t want to make anyone feel guilty. I have an Audible account, and a subscription! It’s how my dyslexic son reads most of the books he reads. Audible did some great things for books, notably spearheading the audio revolution, which brought audiobooks down to a reasonable price. I like that part a lot.

However, they treat authors very poorly. Particularly indie authors. The deal Audible demands of them is unconscionable, and I’m hoping that providing market forces (and talking about the issue with a megaphone) will encourage change in a positive direction.

If you want details, the current industry standard for a digital product is to pay the creator 70% on a sale. It’s what Steam pays your average creator for a game sale, it’s what Amazon pays on ebooks, it’s what Apple pays for apps downloaded. (And they’re getting heat for taking as much as they are. Rightly so.)

Audible pays 40%. Almost half. For a frame of reference, most brick-and-mortar stores take around 50% on a retail product. Audible pays indie authors less than a bookstore does, when a bookstore has storefronts, sales staff, and warehousing to deal with. 

I knew things were bad, which is why I wanted to explore other options with the Kickstarter.  But I didn’t know HOW bad.  Indeed, if indie authors don’t agree to be exclusive to Audible, they get dropped from 40% to a measly 25%. Buying an audiobook through Audible instead of from another site literally costs the author money. 

Again, I like the people at Audible. I like a lot about Audible. I don’t want to go to war—but I do have to call them out. This is shameful behavior. I’ll bet you every person there will say they are a book lover. And yet, they are squeezing indie authors to death. I had several meetings with them, and I felt like I could see their embarrassment in their responses and actions. (Though that’s just me reading into it, not a reference to anything they said.) 

Here’s the problem. (I’m sorry for going on at length. I’m passionate about this though.) There are no true competitors to Audible. Sure, there are other companies that can buy your book—but they all just list on Audible, and then take a percentage on top of what Audible is taking. Apple? Their books come in large part from Audible. Recorded Books? They are an awesome company, whom I love, but their biggest market is Audible. Macmillian, my publisher? They just turn around and put the books on Audible.

I had a huge problem finding anyone who, if I sold the Secret Projects to them, wouldn’t just put them on Audible—and while I can’t tell you details, all of their deals are around the same low rates that Audible is paying indie authors. Audible runs this town, and they set the rates. For everyone. Everywhere. (I had one seller who really wanted to work with me, who will remain unnamed, who is consistently only able to pay authors 10% on a sale. For a digital product. It’s WILD.) 

I found two companies only—in all of the deals I investigated—who are willing to take on Audible. Spotify and Speechify. My Spotify deal is, unfortunately, locked behind an NDA (as is common with these kinds of deals). All I can say is that they treated me well, and I’m happy. 

Here’s where the gold star goes to Speechify. Let me tell you, they came to me and said—full of enthusiasm for the project—they’d give me 100%. I almost took it, but then I asked the owner (who is a great guy) if this was a deal he could give other authors, or if it was a deal only Brandon Sanderson could get. He considered that, then said he’d be willing to do industry standard—70%—for any author who lists their books directly on Speechify a la carte. So I told him I wanted that deal, if he agreed to let me make the terms of our deal public. 

I’ve made enough on this Kickstarter. I don’t need to squeeze people for every penny—but what I do want to do is find a way to provide options for authors. I think that by agreeing to these two deals, I’m doing that. We have the open offer from Speechify, and we have Spotify trying very hard to break Audible’s near-monopoly. 

I hope this will rejuvenate the industry. Because I do like Audible. I worry that they’ll stagnate, strangle their creators, and end up burning away because of it. Real competition is good for everyone, including the companies themselves. Lack of it leads to a slow corporate death. 

So I’m not putting these books on Audible. Not for a year at least. Maybe longer. I need to be able to make a statement, and I realize this makes it inconvenient for many of you. I’m sorry. I really am. And I know it’s going to cost me a ton of sales—because right now, people tend to just buy on the platform they’re comfortable with. The Lost Metal preorders were 75% audio—almost all through Audible. I know many of my fans, probably hundreds of thousands of them, simply won’t buy the books because it’s super inconvenient to go somewhere else. Indeed, Audible locks you into that mentality by making you sign up for a subscription to get proper prices on audiobooks, which then makes you even more hesitant to shop around. 

But please take the time to try these books somewhere else. I’ve priced them at $15—the current price of a monthly subscription to Audible at their most common price point. You can get these books with no subscription and no credit. (Though you do have to buy on Spotify/Speechify’s websites—and not through their apps—because of monopolistic practices by certain providers. Something I’m not qualified to say much about currently. Besides, this rant is already too long.)

Each book you buy somewhere else helps break open this field. It will lead to lower prices, fewer subscription models, and better pay for authors. Plus, these partners I’ve gone to really deserve the support for being willing to try to change things. 

Whew. Okay. Rant over. Let’s talk print books.

PRINT BOOKS for BACKERS

The first book is being bound right now! We had a scare last month when the material for the covers didn’t arrive because of shipping delays, but Bill (our print book rep) worked some miracles and got things ushered along. Then we were hit with another setback: as we speak, a giant snow storm is descending on our printer’s location, and that’s going to delay the books even further, as we will not receive them until after the New Year. All of this will cause some slight delays on the first book, as we will need to package and ship the first box throughout the entire month. Some might stretch into February. We promise to do what we can to prevent that, but it might not be in our control. But fortunately, everyone will have their ebooks and audiobooks right on the first day. 

PRINT BOOKS for NON-BACKERS

These will take longer than the ebook/audiobooks to come out. You see, we knew supply issues could be a problem—it’s the story of all marketplaces these days. So we wanted to be extra, extra careful not to have these on sale too soon, lest we risk people being able to buy the books in stores before backers got their copies. (Which would be wrong.) However, in publishing, you have to pick dates like this super early for (again) supply reasons.

So we picked a three-month delay. When the second Secret Project goes out to backers, the first Secret Project will appear in bookstores in the English-language countries. At this point, you’ll have two options.

My publishers (Tor and Gollancz) will be releasing their own editions, in line with the other editions of my books you might have bought from them. Our Dragonsteel editions will remain the premium edition of the books, which we will sell ourselves. Both the books and the swag boxes will be available for pre-order on Dragonsteelbooks.com on the 10th of each month (at the same time as the audiobooks and ebooks are released to the public), but they will not ship until after we have completed backer shipments. The individual premium hardcovers (with the extra art, special cover treatments, etc.) will be $55, and all extra boxes will be $65.

I’m sorry for the long delay, but it was what felt right when we put these deals in place.

Whew. That was a long bit of information! Sorry to go on at length, but there was a lot to get through.

Brandon Sanderson

I started writing my first novel when I was fifteen years old. I didn’t have a computer; I had an old, electric typewriter. It would remember your file on a disc, but it was really just a printer with an attached bare-bones word processor. (It had a tiny LCD screen at the top that could display three lines at a time. You could scroll through and edit bit by bit, then you hit print and it would type out the document.)

The book was terrible. It was essentially a hybrid of Tad Williams and Dragonlance, though at the time I felt it was totally new and original. It did have a wizard who threw fireballs with smiley faces on the front, though, so that’s kind of cool. At its core were two stories. One vital one was the tale of a wise king who was murdered by assassins, forcing his younger brother to take up the mantle and lead the kingdom while trying to find/protect the king’s son and rightful heir. The other was about a young man named Rick, originally blamed for the murder.

I still have some of these pages. (Not the entire book, unfortunately.) I used to hide them behind a picture on the wall of my room so that nobody would find them. I was so anxious about letting people read my writing, and was—for some reason—paranoid my family would find the pages and read them, then make fun of them.

Over the years, many ideas proliferated and matured in my mind. I began writing books in earnest (I never finished that one I started as a teenager.) I grew as a writer, and discovered how to make my works less derivative. Most of my ideas from my teenage self died out, and rightly so. Others evolved. My maturing sensibilities as both a reader and a writer changed how I saw the world, and some stories stood the test of both time and internal criticism, becoming stronger for the conflict.

Rick became Jerick, hero of the book now known as Dragonsteel. (It was my honor’s thesis in college, and will someday be rewritten and published. For now, the only copy available is through interlibrary loan, though it appears to have vanished.) Jared, the man who lost his brother and had to lead in his stead, protecting his nephew, slowly evolved into a man named Dalinar, one of the primary protagonists of The Way of Kings. Some of you may be curious to know that the character many now call Hoid also appeared in that ancient book of mine.

These two epics—Dragonsteel and The Way of Kings—have shaped a lot of my passions and writing goals over the last two decades. For example, in my last year of college I took an introductory illustration class to try my hand at drawing. My final project was a portfolio piece of sketches of plants and animals from Roshar, as even then I was hoping to someday be able to publish The Way of Kings with copious in-world illustrations of Roshar and its life. (At that time, I was planning to have an illustrated appendix, though I eventually decided to spread the pages through the book.) Fortunately, I was able to hire artists to do the work in this book instead of forcing you to look at what I came up with . . .

Well, finally—after two decades of writing—Tor has given me the chance to share The Way of Kings with you. They’ve taken a risk on this book. At every juncture, they agreed to do as I asked, often choosing the more expensive option as it was a better artistic decision. Michael Whelan on the cover. 400K words in length. Almost thirty full page interior illustrations. High-end printing processes in order to make the interior art look crisp and beautiful. A piece of in-world writing on the back cover, rather than a long list of marketing blurbs. Interludes inside the book that added to the length, and printing costs, but which fleshed out the world and the story in ways I’d always dreamed of doing.

This is a massive book. That seems fitting, as it has been two decades in the making for me. Writing this essay, I find myself feeling oddly relieved. Yes, part of me is nervous—more nervous for this book than I have been for any book save The Gathering Storm. But a greater part of me is satisfied.

I finally got it published. Whatever else happens, whatever else comes, I managed to tell this story. The Way of Kings isn’t hidden behind the painting in my room any longer.

Brandon Sanderson

Let me go down all the movie rights stuff.

Reckoners is still owned by Fox. Shaun Levy's company, 21 Laps, producing. He's the guy who made Night at the Museum. He's one of the directors on Stranger Things. Really great guy, I really like Shaun Levy. They called recently and said, even though there was a lot of turmoil at Fox right now, they were still interested and wanted to keep working on the thing. They just had a new script come in. That's where we stand on that. So, they're enthusiastic, they like it. I worried that The Boys coming out, which is a similar idea, would make our chances less. They think it makes our chances more, because The Boys turned out really well and everyone likes it, and we have a more family-friendly version of basically the same premise. So they think that that will still work. So I'm very hopeful on that.

Let's see, what else is in development. I just got an offer on Alcatraz. Can't say a lot about that yet, but it has been offered on. Legion is still under option for a television show by Cineflix up in Canada. The Cosmere rights, I'm still working on DMG on part of those, and I'm working with other people on other parts of those. The Cosmere rights are kind of in flux right now, we're looking at a bunch of different things. Nothing I can announce yet.

Of course, the big one that is not mine, but that I am a producer on, is the Wheel of time. Harriet, I asked her first. I'm like, "Harriet, tell me if you would be uncomfortable with me being a producer." Because this is not mine, I don't want to take it over. And she said, "No, no, I want you on it." So I said yes to being a producer. That basically comes down to, they are showing me the scripts, and I am offering feedback. I have liked what I have read so far. The first script is spectacular, and the second one's pretty good. (They warned me ahead of time, the second one needed a little work, so I didn't ream them too much on it. Actually, there was a lot good to it, but the things they said needed work did need work. But they knew it already.) I was able to offer a few (I think) very helpful pointers. I can't say a ton, because I'm under NDA. But I will be flying out to Prague in October, and I hope to represent all of you Wheel of Time fans and get some photos and things that I can release and what-not. I think the Wheel of Time show is in good hands. Rafe, I really like Rafe. He's the showrunner. Every interaction I've had with Rafe has been extremely positive. He loves the series. He has his own vision for it. So I will warn you that. Any adaptation you get is filtered through the eyes of the showrunner, and this is going to be filtered through Rafe's eyes. And there are certain things he wants to do that are bold, but are good choices. So just keep that in your mind. That's what I would say.

Otherwise, let's see. I think that's about everything on there. I'll keep my fingers crossed on the Fox thing. Like I said, I really like Shawn Levy. His adaptation of Real Steel, the Richard Matheson story. If you guys haven't seen that, it's spectacular. I really like it. It's got Wolverine making robots punch each other. It turned out to be a really touching story, really great adaptation. That was one of the main reasons I said yes when they came knocking.

Questioner

My question has to do with the color of Shallan's eyes currently, because we've noticed over the books that Kaladin's eyes, as he's continued to use his Surge, changed to lighter and lighter blue. Whereas one could argue that Shallan is farther in her Ideals than Kaladin is, yet her eyes have not changed at all.

Brandon Sanderson

Right, 'cause they were already light.

Questioner

'Cause they were already light? So it only affects lightness or darkness in the eyes, not necessarily any other color?

Brandon Sanderson

It's not like it is-- It's not like it's saying "Light minus 50%".

Questioner

It's not like Honor is blue and--

Brandon Sanderson

No. It is not. It is just kind of the way that the changes the Stormlight is making the body and certain people are already descended from people who had repeated, over time, changes by the body which stopped physically... That's not to say that all lighteyes that's where they came from. There are some that are natural mutations.

dvoraen

In the Midnight Essence vision Dalinar has in The Way of Kings, the female Radiant was wondering "who released it". Shouldn't the Radiants have known then that it was Re-Shephir that was the general source of Midnight Essence?

Brandon Sanderson

Yes, but Midnight Essence can be extracted and used independently.

College_advice12

The sun of this system seems to be highly invested, ordinarily this seems to only happen when a Shard is present yet this world appears to be a backwater. Is there something to this or is this system for some reason more invested than other worlds?

Brandon Sanderson

This system is more invested than other worlds. Part of why he's there. Part of why he would end up here.

ElynnaAmell

Is there a Shard on this planet or in this system?

Brandon Sanderson

There is not an active Shard suffusing this planet in the same way that Odium, Cultivation, and Honor suffuse Roshar.

Puzzled-Barnacle-200

If you were to write Mistborn now, as an experienced author rather than as your first published series, what differences would you have made to the story/world/characters?

Brandon Sanderson

A couple things. There are 3 regrets, well maybe 4. I really wanted to write the first book about Vin and have a female protagonist and do a good job with that. It's something I'd done poorly in the past (during my unpublished years) and I really wanted to do a good job on this one. But then, I made her the only woman on the cast, really. So I would fill out the cast with more women.

I got tunnel vision and because all the stories I was using as blueprints (Ocean’s 11, Sneakers, the Sting, etc) had overwhelming male casts, I defaulted to that. This is the problem with bias--you end up perpetuating problems, just kind of going along with them because that's what you've always seen done.

That is not to say that having an all male cast is bad. In some cases, chosen deliberately, it makes sense. I would not change Bridge 4; as bridgemen, it makes sense to have an all male group. (At least at the start.) But with Mistborn, I was actively using Vin as a way to show that with the metallic arts evening out things, the difference between male and female strength was minuscule. By having no other women on the team, I undermined my own message.

Another one is that I think that I broke Sanderson’s first law. I used un-foreshadowed power in the ending and it led to a less satisfying conclusion than I would have liked. This is actually what taught me I needed to better with this, and if you watch my lectures on Sanderson's Laws, I lay it out more clearly.

Third, in the first half of Hero of Ages, I don't like quite how much traveling there is. I don’t think it gets across the feel that I want. I would have set more in Luthadel. It feels out of place in retrospect because that story (the story of Mistborn) is sort of the story of that city. I could had the same book, but set it in a fortress within Luthadel. That would make the city's "character" remain in the third book, and let you see the progress (or in this case, the opposite) of the world through the way the city looks.

When I make a film of Mistborn 3, I think I would move much of the action to the city. 

Millennium

Do Honorblades have the same sort of relationship to Honor (possibly to a much greater degree) that Shardblades do?

Brandon Sanderson

You're on the right track.

P. Lavy

As a beginner, I would like to ask your advice on how to narrow that gap between my storytelling and story writing. (I have watched your online lectures on fantasy and sci-fi writing).

Brandon Sanderson

You phrase this in a great way, as the writing and the storytelling are two distinct skills that often intertwine.

Reading into your question, I think that what you’re asking is how to make the things in your head (the storytelling) work on the page (the story writing). I have to warn you, however, that a lot of times there’s a little more going on than I might have mentioned in my lectures.

The metaphor I often use in the lecture is how, as an early trumpet player, I could hear some music I wanted to play in my head (specifically when doing improvised jazz) but didn’t yet have the skill to make those sounds come out the front of the horn. This is a good metaphor, but it leaves something unsaid.

A lot of writers can imagine a perfect story, but then have trouble writing it down. My experience tells me, however, that much of the time, that story isn’t actually perfect in our heads. We pretend it is because we can’t see the problems with it when we’re imagining it—we gloss over the difficulties, the issues that are quite real but invisible until we actually try to put the thing together on the page.

So you have two potential problems. One is that the story in your head isn’t, and never was, as flawless as you imagined. The second is that your skill in writing isn’t up to telling the things that ARE working in your head. Both are eventually resolved through practice.

To finally get around to some practical advice like you wanted, however, there are a couple of ways to bridge this gap. One is to practice outlining. Now, I’ve often been clear that there is no one right way to write a story, and non-outlining methods are valid. However, if you really want to start looking at the structure of your story critically, forcing yourself to outline it first can really help. Plus, one big advantage of a solid outline is that you’re able to keep less in your head while working for the day. You can look at the outline, know what story beats need to be accomplished, and focus your mental energy on things like showing instead of telling and really nailing character voice/motivations instead of worrying if this plot point will end up working or not.

These fundamentals are another really great way to bridge that gap. Few new writers fail because they lack vision, originality, or ambition. They fail because it is difficult to write a character that is compelling. Or they fail because it’s tough to evoke a sense of wonder in exploring a new world while at the same time not bog the story down with unnecessary details. Practicing things like voice, showing instead of telling, and evoking setting through character can let you make the page-by-page writing interesting and compelling, which then serves to make your story work long enough for you to get to the grand ideas.

Questioner

When Hoid *inaudible* Shallan in...

Brandon Sanderson

In Jah Keved, when she's back in the flashback?

Questioner

In the flashback.

Brandon Sanderson

In the flashback, yep.

Questioner

In--yes--during that experience...

Brandon Sanderson

Mhm.

Questioner

And at the end of the book, Dalinar has that vision that didn't come from the Stormfather. I was wondering if those are related?

Brandon Sanderson

Those are not related. Good question.

Brandon Sanderson

Lightsong Sees the Painting of the Red Battle

This is our first major clue (though a subtle one at the same time) that there might be something to the religion of the Iridescent Tones. Lightsong does see something in this painting that an ordinary person wouldn't be able to. A well-crafted piece of art, made by a person channeling the Tones and connected to them via Breath, can speak to a Returned. Now, in this case, it doesn't work quite like Llarimar says it does—Lightsong doesn't actually prophesy about the black sword in the way the priest thinks. In other words, Lightsong isn't prophesying that he'll see the Black Sword (Nightblood) in the day's activities.

Instead, Lightsong is seeing an image of a previous war, which is prophetic in that another Manywar is brewing—and in both cases, Nightblood will be important to the outcome of the battle.

The person Lightsong sees in the abstract painting is Shashara, Denth's sister, one of the Five Scholars and a Returned also known as Glorysinger by the Cult of the Returned. She is seen here in Lightsong's vision as she's drawing Nightblood at the battle of Twilight Falls. It's the only time the sword was drawn in battle, and Vasher was horrified by the result.

It's because of her insistence on using the sword in battle, and on giving away the secret to creating more, that Vasher and she fought. He ended up killing her with Nightblood, which they'd created together during the days they were in love—he married her a short time before their falling out. That marriage ended with him slaying his own wife to keep her from creating more abominations like Nightblood and loosing them upon the world.

Nightblood is part of a much larger story in this world. He's dropped casually into this particular book, more as a side note than a real focus of what's going on, but his own role in the world is much, much larger than his supporting part here would indicate.

Brandon Sanderson

Chapter Sixteen

Spook Reacts to the Citizen's Reign

This is another of my favorite chapters. (So far, that count includes this one and chapter five.) In Spook's sections, I think this is one where I managed to get the balance of language, action, imagery, and theme to work just right. Not too much exposition, the fight isn't too long, and we've got some very nice descriptive passages. This is the first chapter I imagined when I planned to write Spook's sections.

My biggest worry about the Spook chapters, however, is the plot with the Citizen. To be honest, the oppressive peasant regime isn't new—either in history or in fiction. I decided upon it after a great amount of consternation.

I worry sometimes about coming off as clichéd. It's very difficult to get that balance down between being familiar and being radically new. My goal is to have new and interesting plots, characters, and settings in books that still feel like they are epic fantasy. I'm never sure if I'm erring too much on the side of the familiar or writing things that are too inaccessible. (The names in Elantris, for instance, strayed too far into the inaccessible for some people.)

This plot feels just a tad on the overused side. However, I thought it was something very important to show in the world. Kelsier's preaching was too harsh, in my opinion—it was what was needed at the time, but now that the empire has fallen, it becomes brutal and violent. I wanted to show what would happen if a group of skaa peasants followed Kelsier's advice with exactness.

Spook discovers that the Citizen is using Allomancers. However, this is a hypocrisy perpetuated by Kelsier himself. He hated the nobility, but was one of them—at least, he was a half-blood who was raised to their culture. He acted far more like a nobleman than he did a skaa, as Vin pointed out back in book one.

Anyway, I thought about what would happen if Kelsier's vision became reality, and this is what I came up with. There is more going on here—things that relate to the overarching plot of the book—but the basic concept is just what it seems to be. I toyed with doing a form of government that was more radical and new, but I eventually decided that the historical approach of the lower class becoming as intolerant as the former ruling class was the most logical.

Brandon Sanderson

Lightweaver

I will speak my truth

Lightweaver oaths are an oddity, perhaps because their spren tend to be the oddest among all Radiant spren. Instead of speaking specific words, or even words along a certain theme, Lightweavers speak truths about themselves—things they must admit to themselves in order to progress as people. It is theorized that because Lightweavers live on the line between reality and fiction, it is important for them to be able to separate the real from the lie, and only with the proper ability to do so can they move forward.

Lightweavers are the Radiants most interested in the arts, including all kinds of visual arts and theater. They range widely in personality from the quiet and introspective painter to the outgoing and gregarious stage performer, with everything in between. What unites them tends to be a love of art, though there are some few who are more interested in intrigue, secrets, and espionage. They are the spies of the Knights Radiant and are often untrusted by others (such as the stoic Skybreakers) for their love of subterfuge. They have a reputation for having looser morals than other Orders, but the Lightweavers are quick to point out that their personal values are strong. They just don’t feel they need to match what other more hardline Orders tend to require. They can be vague with oaths, and many say there is far more Cultivation in them than Honor. (Others dispute this, saying that all Orders have an equal mix, despite some spren naming themselves “honorspren.”) Lightweavers tend to be free spirits, and many among their Order see the importance of entertainment, beauty, and art in a person’s life, and strive to make sure that the world doesn’t just live through the Desolations—because mere survival isn’t enough unless there is something to live for.

Khyrindor (paraphrased)

In Dalinar's vision, why did Nohadon make a distinction between Soulcasting and Surgebinding?

Brandon Sanderson (paraphrased)

Because they are distinct in his mind.

Questioner

If another Shard came to Scadrial, would that be enough to create a metal like atium, or...?

Brandon Sanderson

If another Shard just came to visit, probably not.

Questioner

If they brought a spren or--

Brandon Sanderson

If they came and completely Invested the world, then things might start happening. But there's some special circumstances, remember. Ruin and Preservation created that planet. Specifically. And so there's some goofy things that happened because of that. For instance Roshar was not made by Honor, Cultivation, or Odium. That's one of the big differences about what's going on there.

Brandon Sanderson

Any of you who haven't read the Evil Librarians series might want to duck out here, because I'm going to talk about the big reveal at the end of the fifth novel. This is a post that's been brewing since 2006, so I'm eager to talk about it—but anyone who has read stories like Secret History will know that I like to brew surprises over the long haul. I'd rather you discover this on your own, by reading the series. I've posted before my pitch on what the books are about, and why you might like them.

For those of you who have read up to the fifth book, it's time to give a behind-the-scenes look at what happened with this series.

If we look back to 2006, we can find the seed of the first [Alcatraz] book in a writing prompt I wrote out for myself: “So there I was, tied to an altar made from outdated encyclopedias, about to be sacrificed to the dark powers by a cult of evil librarians.”

Great first line to a story. I typed it into my phone while at a meeting one day, and quickly became enthralled by it. I'd been reading a lot of middle grade, and wanted to try my hand at something in the genre. I discovery-wrote the story, mostly as a writing exercise—and as a break from the Mistborn series, which I felt needed some breathing room before I could work on the next book.

The story turned out great. Quirky, sarcastic, and fun. So I sent it to my agent, and he liked it too. It took us only a few months to get four offers. Each of the editors we were talking to wanted to know, what was my vision for the series?

And this was tricky because the first book had left me in a bit of a conundrum. You see, a big theme of that first book was a character telling their life's story and warning everyone that he wasn't a hero, that things ended poorly for him. And yet the series was lighthearted and fun, full of humor and wackiness. It didn't have the dark tone of Lemony Snicket, despite the main character's insistence that he was no hero.

I felt I'd promised the audience a fun reversal—that Alcatraz would end up being a hero, even if he didn't think he was one. This was tricky though, because I had the feeling that if I ended it that way, it would be too obvious. Somehow I had to have an ending that justified Alcatraz thinking he was a huge failure in life, but at the same time indicating to the reader that he was actually heroic.

And that's when I hit on a structure that would let me do this. I pitched the following to the various editors interested in the books: I'll write a six-book series that I tell everyone is five books long. The main character will write five, and the fifth will end with the disasters he predicted. This will show exactly why he thinks of himself the way he does.

But then the sixth book will be from the viewpoint of his bodyguard, continuing the story and giving the real ending.

I felt this would work because it played into the themes of Alcatraz being honest about his past, mixed with his feelings of failure. But it would at the same time let us have an ending that wasn't quite so much of a downer. All it required was that we remain quiet for six years or so (it ended up being ten) about the secret sixth book. (In the intervening years, if people asked me if book five was the end, I tried to always answer, "The fifth book is the last one Alcatraz will write.")

Some of the editors loved this idea, and others didn't like it at all. One who loved it was Susan at Tor, who is now publishing the books—so yay!

My initial pitch for the release of book five this year was to have a little envelope inside the back cover that you opened and found a note from Bastille, saying she was going to write the last book. However, that proved to be a problem. First, it's easy to lose a card from an envelope, which meant that library books and secondhand books risked having the true ending get lost. Second, it seemed like it would just be too much for people to resist opening early. We ended up going with a folded-over page at the ending, which at least can't get lost. (And in the ebook, Bastille's note is at the very, very end, past all the footnotes, like a post-credits scene.)

So what does this mean for the future of the series? Well, two years ago I posted a screenshot of my folder showing all of my books in order. It hid a secret project, scribbled out. People assumed this was Secret History, and I didn't disabuse them (as I was working on it at the time). But it's actually Evil Librarians Six, which I've done a bunch of work on. I'm not sure when I'll have it out, but it won't be too long. (I will probably finish it sometime next year.) I'm tentatively calling it Alcatraz Bastille vs. the Evil Librarians: The Worldspire. (Yes, Alcatraz's name will likely be crossed out on the cover, with hers written over it.) Originally I'd named it Alcatraz vs. His Own Dumb Self, but I think that might be going too far.

Thank you to all the fans who have kept with this series over the years. It's because of you that I went through all the trouble of buying the series back from the old publisher, when they decided to end it at four books. And it's because of you that we have the gorgeous new Tor editions, finally with cover art that fits the books. (Not to mention the awesome interior art.)

But book six WILL be the last. You can trust this, because it's me saying it, not Alcatraz. 

MiToRo94

Honor has Stormlight and Odium has Voidlight, is there a Cultivationlight? If so, can an Invested person use it as a third magic on Roshar or is a boon/curse the only magic of Cultivation/Nightwatcher?

Brandon Sanderson

There is more! I'll just say that, the rest is Read And Find Out. You are theorizing in an accurate direction.

Questioner

Close to the end of Rhythm of War, Dalinar Connects Kaladin to something, which gives him the vision of Tien. Did he Connect him to Tien's dead soul, and if so, does Dalinar know what he did?

Brandon Sanderson

There are two prevailing theories on what happened here among cosmerenauts, in-world Arcanists. You would get two different answers. The most common answer is, Dalinar attached himself to the Spiritual Realm, pulled out possibilities, and showed one of those to Kaladin.

Questioner

If so, where did the horse come from?

Brandon Sanderson

Either pure coincidence, or some sort of matching of Fortune to the moment, that ended up leading Kaladin to the place he needed to be, which is the way a lot of Fortune works. Fortune would be like, "You should go here," and you don't even know why. That's what the Arcanist answer would be, it would be the most common answer. Some people would say he reached into the Beyond and connected Tien to Kaladin via Tien's actual soul. I will leave these both as equally valid theories. As I've said many times, I'm not gonna say whether there is an actual afterlife in the cosmere because it is too foundational to too many characters' beliefs, or lack of beliefs, or worldview in-world to have the author contradict them either way.

Mason Wheeler (paraphrased)

In Dalinar's visions, he interacted with people in ways that seemed strange and unexpected to those he was interacting with, and they responded appropriately.  Did his actions actually influence the past, or not? For example, did he help influence Nohadon to write The Way of Kings?

Brandon Sanderson (paraphrased)

No, they were just projections sent into his mind.

LewsTherinTelescope

Does "Ba-Ado-Mishram" mean "child of the light of Cultivation and Honor"?

Brandon Sanderson

RAFO, but you're doing a pretty good job picking apart the linguistics of that.

Brandon Sanderson

So, this section marked one of the biggest changes to the text during the revision process. In the Mad Prince version of the novel, the soldiers who ride up to Kiin's house were members of the Mad Prince's army. They arrested Raoden–he went willingly–and tried him for the death of their leader. This took the better part of two chapters, and ended with Raoden almost getting beheaded.

Overall, I kind of happy to lose the scene. The trial was a big distraction, and I'm not sure that I ever pulled it off narratively. There were a few interestingly tense moments, and it did let Raoden show his honor in his defense (he accepted the judgments of the army assuming they promised to make Sarene queen.) However, I sense that the scene in general was just over-written.

Brandon Sanderson

Epilogue

This is the dénouement to the denouement, I guess. We get to end with my favorite character, tying up some of the small loose ends that were related to her storyline. There is some good material here–she points out that Raoden is doing well as king, how Ahan is fairing, and gives a nice prognosis for the future of Arelon.

However, the important part of the epilogue comes at the end. I love the last line of the book, despite the fact that Joshua disagrees with it. (He wanted something else there–I can't quite remember now what his quibble was.)

Anyway, I always intended to end this book talking about Hrathen. He was their savior, after a manner–and he certainly was a dominant force in the book. I wanted to give him one final send-off–to honor him for what he did, both for Arelon, and for the story in general.

ROSHtafARian

We're aware by now of eight of the sixteen Shards (Devotion, Dominion, Ruin, Preservation, Endowment, Honor, Odium and Cultivation) and seven of the ten core Shardworlds (the Dragonsteel world, Roshar, Scadrial, Nalthis, Sel, the White Sand world and The Silence Divine world). Given that you now how we love to obsessively speculate based on only the tiniest of information, and also given that it seems an endless source of amusement to you that we do, would you perhaps like to tease us with a smidgen of information about one of the remaining eight Shards or the three remaining Shardworlds?

Brandon Sanderson

Ha. If I give you this, what will you speculate on in the future? :) I hate to do this, but I'm going to RAFO that one for now. Sorry.

Brandon Sanderson

Will the Cosmere persist after I retire? I like to be deliberate about my career, and I have noticed something. Authors who hit a certain success level, once they retire, books continue coming out from them for many years. This seems an inevitable part of the way that media works today. This makes some authors uncomfortable; Robert Jordan, for instance, said to Harriet he did not want to become what he called a "legacy series." This is something like Conan the Barbarian, where not just years after the author's retirement, but decades and even potentially centuries, you see more things coming out. This is part of what influenced me in saying "I want to only do the three Wheel of Time books that I signed up to do." In fact, Harriet and I had a meeting very early in the process, somewhere in 2008, where she said "what do you think?" Granted, this wasn't my decision, but she wanted to know what I thought. And what I said is, "I think we should finish his series and be done." Because I knew how uncomfortable he was.

I am less uncomfortable, but at the same time, I don't know that I like the idea of a giant legacy series. I think it is good that these things have a shelf life, because it opens up opportunities for new authors and new concepts and new stories to happen. What I'm doing is I'm very deliberately building my company in a way that, if I get hit by a bus tomorrow, I want to have the people in place to finish the stories for you all so that you have endings. This is something that was a great honor for me to do for Robert Jordan, and I stand by that being something that should have been done. I do know there are some people who disagree with that, and I respect their choices. But Robert Jordan wanted it finished, Harriet wanted it finished, and the fans wanted it finished. I want to be in the same position. I also want to have a position where we are doing this deliberately and having control over it. Some of you know, I have hired Dan Wells as VP of narrative, my longterm friend and collaborator Dan Wells. This is so that I can have another brain in the Cosmere, so to speak. My goal is to create something that a lot of people love for a long, long time. But at the same time, I am not trying to create something that continues forever, if that makes sense. Hopefully the books will; hopefully the books that I've written will be read forever.

It's kind of a wiggly, wishy-washy answer. I think it's inevitable, at this point, that my books will continue past my retirement. I want to be deliberate about it and have an endpoint to them scheduled. And maybe we'll hit that before I retire, in which case none will need to be released. But maybe we won't. And who knows what the future will tell and how I'll be feeling about this in twenty years. I think it is likely the Cosmere will continue, but hopefully we do it in a deliberate way and in a way that is creating very high-quality stories and that is finishing up things so there is an actual ending.

Dustbr1nger

When creating something for Mr. Sanderson, is it normally a back and forth? As in, if he sees something you draw that doesn’t quite fit what he imagined but might run with it, or is it more so slightly editing stuff until it resembles exactly what was in his mind?

Isaac Stewart

Good question! It is normally a back and forth. Oftentimes we work hard to get a specific vision he has in mind. Other times, he'll see something he likes better in the concepts I present to him. He's pretty open to new interpretations, if he likes the direction we're going better than what he originally had in mind, so long as we don't contradict what's already been written in the text. There have been several times where the art has informed the text of an in-process book, and we go back through the book to change the descriptions to match the art. But most often, we make sure that the art--as best as we can--matches the text.

Kyrroti

Is there a time when you two felt strongly on a design and disagreed, or are you both very open minded?

Isaac Stewart

This occasionally happens, but we're both very open minded about these sorts of things, and in the end, Brandon is the director of his stories. I would let him know if I thought going a certain direction in the art was a bad idea. He would let me know if thought the same thing about a direction I was taking something. It's a very respectful process.

Dan Wells

Can you talk about the person you were pitching with, or is that secret? 

Brandon Sanderson

Yeah, I can. It was Joe Michael Straczynski. So Joe attached to it. Super cool guy.

Dan Wells

He is the guy that did Babylon 5, among other things.

Brandon Sanderson

Yeah, he attached to it and he and I went and pitched it together, and it got picked up. But then Joe really got excited by certain aspects of the story, not really by my outline. He really loved the idea of this—he had an idea, he wanted to do something that was very close to Castle, where there is an author in the real world writing books. We would write these fantasy novels and the show would be the fantasy novels. The author was like a character who was channeling and releasing them. Some of this was from the original pitch, but it was a video game in the pitch.

He was really into this and so much of it changed that I called him up and I was like, "Joe this is nothing like my pitch". And he was like, "yeah I know, I got really really excited". I was like "ughh" and he was like "ughh" and I'm like "what if we just separated them" and he said "that's a great idea". So we just hand shook on, he can take his pitch and sell it, he just took Dark One off it 'cause it was changed so much, and mine just went back into the thing. I don't know if he ever got his made. He was very easy to work with, I'll say that. Very very classy in when I called him and said "this is nothing like my pitch", he was like "yeah I know, I'm sorry, I got really excited".

Dan Wells

Well and that’s what happens, that’s what happens in Hollywood. It is such a collaborative industry and a collaborative medium that, you know, whoever has the money and/or authority is the one that is most likely to see their vision made. Which is rarely the author!

Brandon Sanderson

It got picked up. They commissioned a pilot from him on that thing. Basically, I said "go do your thing, if this takes off come back to me and I can maybe write the fantasy novels in the real world". I'm totally cool with your concept here, we will just take Dark One's name off of it. Obviously it didn't get picked up, because the show never got made—

Dan Wells

Yeah, because we have never seen it.

Brandon Sanderson

—and he never came back. Anyway, that was Dark One, was my television pitch. It was multimedia in that I planned a couple of epic fantasy novels to tie in, but that was kind of like the television show was the thing.

Brandon Sanderson (paraphrased)

1) The Nightwatcher and Stormfather are parallel entities such that Nighwatcher:Cultivation :: Stormfather:Honor.

2) There is sort of a parallel for Odium, but the parallel is the various Unmade instead of a single entity.

3) They are parallel in that they are all Splinters.

4) The Unmade are voluntary Splinters, because Odium ("like almost all of the other Shards") voluntarily Splintered part of it's power.

5) The Stormfather is different from the others because it's a Sliver.

Matthew Scott

Hello everyone.

This is Matthew Scott, the CEO for Little Orbit, and I think we're overdue for a final update on Mistborn: Birthright.

First, we can now definitively say that this project isn't going to happen. Please know that it's not for a lack of effort. Even as a publisher, the video game industry isn't easy, and sometimes the best will in the world isn't enough.

Second, I want to thank all of Sanderson's fans who reached out with their feedback, encouragement and support over the years. It was truly a great experience to be adopted as part of the Cosmere community.

Lastly, I would like to thank Brandon, himself. He was a patient, great business partner, who produced an amazing story for the game. I still hope he finds a way to release the details or reuse it in some fashion.

Mistborn has been a personal passion project of mine, that we started back in 2011.

Many people don't know that by mid 2012 our internal development group at Little Orbit had a completed vertical slice for the game that we showed to a few journalists at E3. The game was much smaller in scope at that point, but progress was good. Then in late summer, a partner in our development studio sold his stake to a major publisher, and we had to get creative on how to split up Little Orbit / Game Machine / Papaya Studios. In the end, half of the development team went along with the deal, so Mistborn got shelved for a time.

From there it took about a year to get the project back on track.

During the break, we internally agreed that Mistborn fans deserved a bigger/better version of the game. During this second iteration, we engaged a number of larger RPG developers, and we started talks with Obsidian. Chris Avellone was a huge advocate, and he has always been a big fan of Brandon. But after months of discussion, their schedule proved to be too complex, and the game went back on the shelf.

We spent more time to rethink our approach, and we decided to increase the budget as our search continued. In 2014, we started talks with High Voltage Studios. The goal was to use their Saints Row technology to make a spectacular open world Mistborn game. I still believe that this is the best vision for the game. It combined elements of Assassin's Creed and Dishonored with the physics gameplay of Allomancy. We got our funding secured and even had a kickoff with Brandon in early 2015.

And then the unthinkable happened.

In a series of months two of Little Orbit's retail distributors went out of business taking large chunks of our revenue with them. Funding for future titles was immediately canceled, and it nearly bankrupted the company. We barely survived.

In the end, I am deeply saddened we couldn't get this made, but rather than continue to hold onto the rights, I'd like to see someone else make the amazing Mistborn game we would all love to play.

Thank you for your support.

Sincerely, Matthew Scott CEO

Questioner

Do other Shards have [intents?] like Honor with the Heralds and [Odium] with the Unmade?

Brandon Sanderson

Do others have things like that?

Questioner

Yeah.

Brandon Sanderson

Yes, there are other things like that.

Questioner

So, we know in Mistborn there is this running... you can say, motif about Ruin being associated with the color black and Preservation with the color white, we see a lot of very subtle and a lot of very unsubtle...

Brandon Sanderson

Yeah, yes.

Questioner

Is such a motif present in any other books? I think I see it in Stormlight.

Brandon Sanderson

Yeah, in Stormlight you can see it. So, Ruin is a red-gold... not Ruin, Odium. Odium is a red-gold. Honor is a blue-white and Cultivation is green, obviously. So, those motifs stay, when you... when you see a red or a gold, it's a reddish gold sort of thing, either of those colors, it's going to be Odium.

Questioner

Even when we something we might suspect to be outside influence in other worlds?

Brandon Sanderson

Not necessarily, because red can also mean corrupted Investiture in the Cosmere. So, I would call Odium's real color gold, because you're going to see red when Odium is corrupting other things, so...

Questioner

It's not necessarily on Roshar.

Brandon Sanderson

It's not necessarily Odium. So, you're asking for the invading force on Mistborn, it doesn't necessarily mean Odium because it's red. So red just kind of means corruption. I've talked about that before, so. Not necessarily, not definitive, yeah.

Ruro272 (paraphrased)

Is there a separate "Shadesmar" for each planet or is it one big place that are all connected with different regions for each planet?

Brandon Sanderson (paraphrased)

It's one big place with different sections.

Ruro272 (paraphrased)

So since its one big place, could spren travel to a different section that correlates with a different planet, such as the cognitive segment for Scadrial?

Brandon Sanderson (paraphrased)

They could go there, but they wouldn't usually...

Ruro272 (paraphrased)

Is that because Honor's influence is only on Roshar?

Brandon Sanderson (paraphrased)

*Brandon gave sort of a noncommittal half nod, but looked doubtful himself. Maybe best to interpret this last answer as a RAFO rather than reading into it too much.*

Millennium

Does the Shard Odium seek to separate things, much like the Shard Honor seeks to bind things together?

Brandon Sanderson

An interesting theory.

TurtletheFlsh

So we know both Cultivation and Honor have Shardpools on Roshar and we also know that Odium is around somewhere on Roshar, does this mean he also has a Shardpool somewhere on Roshar?

Brandon Sanderson

Shardpools, as they are called, are a natural effect of a Shard spending a lot of time on a world.

Zenith

Is Szeth bound to his Oathstone by anything but honor (not the Shard. No loopholes here ;) )?

Brandon Sanderson

RAFO.

Questioner

I know at the end of Words of Radiance Syl shows she can turn into different forms, not just a sword. Why do they not... Or why do none of the other past Radiants really show that they have done that. Because normally in the flashbacks they are shown just being swords.

Brandon Sanderson

So the Shardblades came from spren seeing the Honorblades, which were created for mankind, and being like "I can do that". That is what they were imitating.

Questioner

So that's what they wanted...

Brandon Sanderson

No, that's how they see themselves and how they are seen. They can change into other things...

Questioner

They just never...

Brandon Sanderson

But when you let go of one it's going to become a sword again.

Questioner

Oh, I just meant in all the visions they were always portrayed as swords. Was that just for...

Brandon Sanderson

That's cultural, like this is... One thing that is interesting is you are going to see that the new Radiants don't have... I mean the Radiants you have seen almost all of them are after thousands of years of Radiants and Orders and you have certain things that you do.

So the writing reason was I didn't want to give away...

Questioner

That's what I was going to ask.

Brandon Sanderson

There is a writing reason behind it. I didn't want to do that and give too much away. I already worried that having Syl shift shapes as often as she did through the first book was going to be a big clue to people and I wanted to hold off on giving away too much.

Questioner

In Words of Radiance, there's a fragment that says that the Bondsmiths have a power that none of the other Orders have.

Brandon Sanderson

That will be answered in a future book... *discussion on RAFOs* Basically, each of the Orders actually had their own quirks and individual things. Some of them were more dramatic than others. But if you watch through, you'll be seeing that they kind of have some different effects that aren't related necessarily to the Surges.

Questioner

So, then follow-up question, the reason that the Bondsmiths don't get Shards is because they have that extra power?

Brandon Sanderson

The reason is because the Stormfather is particularly-- how he is. And he's more cantankerous than he was, even in the past...

Each of the Orders, I wanted to have a lot of individuality. I didn't want them to all just be different copy-clones. You'll also find that they also have very different philosophies on even things like honor and what is good and things like that.

Questioner

How many Shards have been Splintered, besides the four we know?

Brandon Sanderson

You're gonna make me canonize this? I can't canonize this. There's a couple that I'm just kind of...

Questioner

Odium, Endowment, Devotion...

Brandon Sanderson

Okay, Odium has not been Splintered. Endowment and Devotion have been Splintered... Endowment hasn't been Splintered, sorry. Dominion and Devotion have been Splintered. I've confirmed that one other has been Splintered. And then Honor has been Splintered. Those are your four that I've canonized. The other one is, I don't know if I've mentioned who exactly it is, but it's not one that you've seen on one of the planets...

Yeah, I'm not gonna canonize it, exactly how many there are. Because there are things going on in the cosmere that I wanna settle down and decide on once I get to it, exactly what. And Splintering can be a vague term sometimes, too... So that's a RAFO.

Eric Culver

How do you feel about fans naming their kids after your characters? My wife knows two people with kids named Kaladin?

Brandon Sanderson

I find it a mark of great respect and honor that people are naming kids after my characters. It also means that, maybe, some of my names aren't terrible. My very first book, Elantris, when I published it. Elantris was the book where I kind of went out there with my linguistics. And several of the reviewers noticed. They were like, "These names are just so hard to say and so weird. Sanderson needs to calm down on the naming!" So, when people name their kids after characters then I'm like, "Oh, good. At least they're not so weird that people won't name their kids after them."

It's really cool. I remember when I met my first Rand, my first Perrin, which both happened before I was working on The Wheel of Time. It's always been really cool to me. I like it. I like meeting Arwens. I wish that fantasy names were a little more frequent in our society. I think that they're very cool.

So, it's awesome. I will try to live up to the respect you have shown me by naming children after my characters.

Questioner (paraphrased)

What happened to Elhokar's body?

Brandon Sanderson (paraphrased)

It was burned with honors.

Questioner

What would happen if a Parshendi were to attract a spren and bring it into the Highstorm? Like, an Honorspren of some sort?

Brandon Sanderson

Sapient spren have a choice of whether they get bonded or not, unless you entrap them some way. But simply attracting them...simply going into the Highstorm with one wouldn't work, what you said is 'attracted a spren', so, to answer that actually... The thing is, honorspren, all the spren of Honor and Cultivation, not honorspren capital, Honorspren or whatever... The spren that create the orders of the Knights Radiant have not, in the past, been attracted to Parshendi because of certain events in the past.

Questioner

*inaudible*

Brandon Sanderson

You'll have to Read and Find Out.

Lerasium Mistborn

Dalinar had two non-Stormfather visions. First at the end of Words of Radiance, and second with Nohadon in Oathbringer. I'm curious if these two are related or they come from different sources?

Brandon Sanderson

So, by even answering that, this is one of those questions I tend to RAFO because by answering it I'm implying that your postulations are correct, which I am not even willing to do. It's more of a RAFO in that... let's just say I'm not even willing to confirm the postulations.

Zach G

Were the Alethi made by some creator-figure and given the Thrill deliberately?

Brandon Sanderson

Roshar was inhabited before Honor and Cultivation arrived. The Thrill did not exist then.

Zach G

So it's a response to the power of one of or both of them?

Brandon Sanderson

I didn't say that... :)

kilomtrs

So in the trilogy, we see that when someone has a Hemalurgic spike implanted in them, they can hear Ruin talking to them, both as a vision and in their head. However, we learn in the Hero of Ages that Ruin cannot hear a person's thoughts no matter how much under Ruin's influence they are.

In Alloy of Law, we see that Wax (and other Pathians) uses an earring to "pray" to Harmony, and we see that Harmony can hear his thoughts and respond.

So I guess this leads to three questions: How does Harmony hear the thoughts of Wax, when it's explicitly pointed put that Ruin cannot?

Are the earrings that the Pathians use Hemalurgically charged, as otherwise they would be of no use to Ruin, and therefore Harmony?

Or did Harmony completely change how that aspect of Hemalugy works?

Brandon Sanderson

How this all works dates back to the original design of the magic system.

I wanted Ruin and Preservation to be complementary opposites, like many things in the Mistborn world. Allomancy, for example, has Pushes and Pulls were are less "negate one another" opposites, but instead two sides to the same proverbial coin.

Ruin is invasive. The power is more "Yell" than "Listen." The philosopher would probably have some interesting things to say about the masculine symbolism of Hemalurgy and its spikes.

Ruin can insert thoughts. That power, however, can't HEAR the reactions. It's about invasion.

Preservation, however, is the opposite. Preservation listens, Preservation protects. (Perhaps to a fault--if there were no Ruin, there would be no change to the world, and life could not exist.) Because of this, Preservation can hear what is inside people's minds. It cannot, however, INSERT thoughts. (This is important to the plot of Hero of Ages.)

Harmony is both, the two complementary opposites combined. And so, he inserts thoughts with Ruin and still uses Hemalurgy. He can also listen.

Yes, Wax's earring is Invested. (Or, in other terms, it's a Hemalurgic spike.)

bettse

Doesn't that imply it was shoved through someone's heart at one point (ala Steel Inquisitor creation process)?

Brandon Sanderson

Yes, the metal would have to have been part of a spike that at one point was used to kill someone and rip off a piece of their soul.

Joaquin

Does Zahel know what Fused are because of his BioChromatic vision? Or has he studied them in some other way?

Brandon Sanderson

I would say both. More the "he's studied what they are and learned about them." He has certain sensory things that definitely give him some advantages, for various reasons. But I would say he's leaning more on his previous experience than he is on those senses.

Ironeyes

What kind of qualities attract an inkspren?

Brandon Sanderson

Inkspren do not like how variable humans are. It’s a thing out of honor, and they like people who are logical and willing to think about their lives and not react as much by instinct.

They are looking more - the scholar is the perfect example, but a soldier who is very thoughtful and is not just rushing into battle could be chosen as well.

Brandon Sanderson

Who here was in the beta for [Oathbringer]? ...They had a lot of affect on part four in particular

Part four, so I had this weird thing... So I had this thing in Oathbringer where the plot archetype was Kaladin feeling like he needed to get to Dalinar, followed by him failing to do so. Which was a really important thing for Kaladin, but the original time where he discovered he needed to get to Dalinar was when he met the Ire and it was in the city--Celebrant. And in the beta that's where it was.

And so what it felt like is, everybody on the ship is like, "Oh we need to get to the perpendicularity in the Horneater Peaks." And then, I just took them down south instead. So I'm like, "Oh I need to get them there." And all the readers were like, "This feels like a digression, it feels boring. Why are we not going-- why are we going the wrong direction?"

It was just one of these promises thing where I had promised--set the expectation. So moving the Ire to the lighthouse meant that Kaladin was a contrast to the other people. And you were like, "Oh yes, Kaladin" When a character in the fantasy novel has a strange vision of the future, that means something! So we will be okay with following Kaladin down south.

HervPrometheus

I seem to remember that you said a while ago that this book contained a very important moment in your first vision of the story. Is that still the case?

Brandon Sanderson

It is, though that moment happens near the end.

Argent

Are the Heralds champions of Honor in the same way that Tanavast was encouraging Dalinar to force Odium to choose a champion?

Brandon Sanderson

Similar.

Dairetron

In Dawnshard, when Rysn's looking at the mural, it's exploding the sun into four pieces and then each of them is broken into four from there. Based on this, would it be reasonable to assume four Shards of similar Intent could be able to form like a super-Shard without the issues Sazed is encountering? For example, say Honor, Valor, Mercy, and the last maybe unknown Shard like Wisdom or something like that?

Brandon Sanderson

That is a correct line of theorizing.