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BeskarKomrk

When you say Scadrial has an earth similar year, are you referring to the time it takes the planet to go around the sun? Or the year as people on the planet would measure it (e.g. Vin is fifteen years old when her brother leaves her)? Are these the same thing?

While I'm here, a selection of related questions for you if you have the time:

1. Did the length of a year (as measured by the people on the planet) change when Scadrial was moved by The Lord Ruler/Harmony?
2. I've assumed that lengths of time given in the books use that world's time lengths. For example, the Reod happens ten Selish years before Elantris (which may not correspond exactly to Scadrian years or Earth years), or that the 4500 years between the prelude and the prologue of Way of Kings is in Rosharan years. Is this an accurate assumption?
3. I've assumed in the past that all the major shardworld planets we've seen have roughly earth similar years. Can you confirm/deny this for any of them specifically? I'm especially interested in Sel and Nalthis. (Specific numbers would be ideal, but even a yes/no for any of the planets would be super super awesome!)

Brandon Sanderson

1. I mentioned in another post that I'll wait a bit to give you exact numbers, because I want to make sure Peter has run all the right calculations. But yes, changing the orbit had an effect on things--though official calendars didn't need to change, as they'd been used since before the original shift happened anyway. When we talk about 'Years' in the Final Empire, it's original (pre LR) orbit anyway. I knew I was going to go back to them later in the series, and when characters were actually aware of things like the calendar, it would be close to earth standard.

2. Though, since you mention it, all numbers mentioned in their respective series are in-world numbers. This makes things tricky, as Rosharan years (with the five hundred days) are blatant enough to start the average reader wondering about these things.

3. Mostly, Roshar is the big one (not in actual deviation--I think a Roshar year is only 1.1 Earth years--but in how the scope and terminology of the novel will make people start to notice and ask questions.) Other planets have deviations from Earth, but it's not as noticeable. We'll give specific numbers eventually. I promise.

Vegasdev

Spook gets repaired, does Cett get his legs?

Brandon Sanderson

To give humankind the best shot at survival, Sazed repaired all genetic defects and physical ailments in the people who were in the storage caches. So yes, Cett can walk. He was so shocked by this that he spent the entire epilogue walking around in the cavern, marveling.

Oudeis16

I'm going to be cheeky and ask another question.

Is there a defense you think you'd favor as a Rithmatist? Either in a duel, the Melee, or at Nebrask? Do you think you'd be more offensive, or defensive? Would you favor chalklings or Lines of Vigor for attacks?

What style chalklings do you think you'd have? Melody made fantasy creatures, Fitch tended towards people, Nalizar made monsters. Do you think you'd tend towards a type?

Ben McSweeney

OOooo, nobody ever asks me Rithmatist questions.

I think I'm reasonably good at eyeballing dimensions, but I got a bend towards symmetry, so I'd probably not be fast with a 9-point. The Eskridge and Matson defenses are 8-pointers though, with the Eskridge being more suited to a melee and the Matson for a duel. I'd probably favor the Matson in a pinch 'cause it's fast to draw.

I think I'd create a lot of fat octopus chalklings for defense, 'cause there's a strategic mobility advantage in those long tentacles, even if the body is anchored to a point. Not sure what I'd use for attack... probably something I can draw a lot of, very quickly, so I can try to Zerg Rush my opponent while using my octochalklings and Vigor lines to hold back their attacks. Millipedes, maybe, with lots of fast legs and pincers.

I've just realized my side of the field is all bugs and tentacles. I think I might be a thematic bad guy. Or worse, the bad guy's henchman.

Oudeis16

Now I wanna see you and Isaac Stewart in a Rithmatic duel... or maybe fighting with Aons.

Really? No one asks you Rithmatist questions? I just finished a re-read. I love that book. Did you have to learn a lot of math to draw it all? Or did you know the math already? Or did you just draw it with the explanation and forget all the math?

I'm pretty sure I've deduced that the Line of Silencing is based on the involute of a circle, the way a Line of Warding is based on a circle marked by the significant points of a triangle...

Ben McSweeney

I think the Rithmatist will be a lot more popular when we've got another book in the basket. Brandon has a very good idea for the second novel, but it involves getting into imaginary revisions of actual history and cultures with living descendants, and he's looking to be careful as he does that.

I'm actually not responsible for any of the mathy bits of the novel, Brandon designed every defense and wrote all the rules and descriptions himself. My job was to take his diagrams and drawings from MS Paint to finished renders.

Because I rendered the illustrations in Photoshop, it helped to ensure that the geometry was perfect. Flawless circles, razor-straight lines, symmetry and point-placement clocked and locked. I could have done the same thing with compass and ruler, but it was significantly easier to build geometric shapes in-system and then texture and revise.

I got to be nice and creative with chalklings, but that's my place on the team. When it comes to the rules and the math, that's 100% Brandon.

Brandon Sanderson

Fjordell

The Fjordell language was a little more formed in my head in the pre-writing stage than Aonic was. I already had an idea of what I wanted this culture, and its language, to represent. I’ve always been fascinated by the rise of the Roman empire, first in military power, then in theological power. Latin and Catholicism fit very will with Rome’s logical, almost bureaucratic, culture.

I wondered what would happen if a similar train of events had led a more war-like, barbarous culture to power. What would happen if the Scandinavian tribes had been able to unite and conquer all of Europe? The answer was simple, in my mind—they didn’t have the bureaucratic skill to run an empire. It would have collapsed.

And that was where Fjorden came from. I imagined three distinct periods in its history. First, the rise of a war-like tribe to imperial dominance. However, once the empire was established and it ran out of foes to conquer, I imagined the new empire struggling to maintain control. Eventually, the First Empire collapsed under its own weight.

However, this experience taught the Fjordell leaders what it was they did wrong. They learned order, organization, and—most importantly—they learned patience. Under the leadership of an inspired ruler, they abandoned their conquering ways and focused instead on Shu-Korath, a newly-budding religion that combined their ancient pantheistic beliefs with a more modern sense of theological order. This religion, which held the power of forced unity as one of its major themes, appealed to the warrior sense of the Fjordell.

With that, the Second Empire was born. Now, instead of an army of warriors, Fjorden had an army of priests. The empire learned to lead more subtly, using its doctrines to control, rather than its swords.

This country had to sound Scandinavian—the more like Beowulf the better. I had Hrathen’s name from almost the beginning, though I quibbled a little more on Fjorden itself. (I realize the name itself is a little gimmicky, but so far I’ve had good reactions from it.)

Fjorden is defined in my mind more by its sounds than by any specific set of linguistic characteristics. The language prefers guttural sounds. ‘U’ sounds, ‘F’ sounds, ‘H’ sounds, and ‘G’ sounds. I added in a Hebrew ‘Y’ sound in the form of a ‘J,’ and placed emphasis on the ‘Hr’ combination. From this language, we get names like Dilaf, Jaddeth (pronounced yah-death,) and Sycla.

Brandon Sanderson

I brought in the Patriarch for a couple of reasons. Though Joshua wanted to cut him (my agent is quite the headsman) and suggested that I have Omin reveal the proclamation, I felt that I needed someone with a little more authority to fill that role. Plus, Elantris is a book about religion, and I wanted to look at the idea of having a religious leader who isn't necessarily as. . .wise as his people would like. By giving the Korathi religion a man like the Patriarch at its head, I could show a different aspect of faith in the book–the idea that a religion is more than its leader, and faith is more powerful than one man. I think that for any religion to last, it needs to be able to survive IN SPITE of the people who run it, rather than just because of them.

TimAnEnchanter

How is homosexuality regarded across the cosmere?

I know one member of Bridge 4, though I forget who, is gay, but I'm asking more in the sense of legality, societal view, etc.

Barleyjuicer

It would probably depend on the planet and culture involved. Roshar has many varied cultures and probably has multiple different acceptance levels. Scadrial is much more progressive and really only has two cultures so it's more likely that most if not all of the world accepts it. Maybe this is something you could ask [Brandon] at a signing or during an AMA.

Brandon Sanderson

Yes, this varies widely based on the planet, and even culture, TimAnEnchanter.

Roshar, for instance, has a lot of different perspectives on homosexuality. In Iri, the more religious segment (who believe that life is about new experiences) would approve, while the more rigid modern, secular society has outlawed it.

In Azir, you'd find something like existed in middle-ages India. (Some societies there had this curious system where a gay man would be given "social reassignment" so that he was treated like a woman, dressed like one, and had relations with men--even if he wasn't actually transsexual.)

Vorin culture is concerned with oaths. Extra-marital sexuality is strictly forbidden, but homosexuality is regarded the same by most as heterosexual relationships. If the proper oaths are spoken, then the Almighty approves. (This usually means marriage, but there are certain official forms of other relationships that would allow it also.)

There are actually a couple of scenes in Book Three talking about it, for those who are interested, as the family and romantic relationships of the bridgemen are becoming a larger part of the story. (Still a small part, I should note, for space limitations.)

On Scadrial, it's going to fall between Pathian lines (each individual decides for themselves) and Survivorist lines (you follow church hierarchy, which forbids it.)

Don't even get me started on Bavadin's religions.

fbstj

What reasons do Survivorists use to rationalize heterosexuality? Thank you so much for these tidbits it's really interesting to hear more about this stuff from you. It would be great to see some of this canonized, maybe in an interlude, or random background discussion somewhere. Thank you again for your books! Also very interested in hearing why secular Iriali have decided to 'regress' on that.

Brandon Sanderson

Survivorism calls it unnatural, and not conducive to the survival of the species. More than that, though, Survivorism has become very conservative and slow to change. What early thinkers had to say is regarded very strictly in the religion. Back during the early days of the new era, repopulating the basin was of prime concern, and this became a big part of what led to moral codes in Survivorism.

Brandon Sanderson

THE WAY OF KINGS

The Mistborn books were successful. Many readers liked the idea of a world where the Dark Lord won, where prophecy and the hero were not what we expected them to be.

Because of how well it worked, however, I fell into something of a trap. When it came time to rewrite The Way of Kings, I floundered. I knew the story I wanted to tell, but I felt I needed to insert a major twist on the fantasy genre, along the lines of what I’d done in Mistborn. What would be my twist? What would be the postmodern aspect of this book? It literally kept me up nights. (Not hard to do, since I’m an insomniac, but still.)

Over time, I wrestled with this because a larger piece of me resisted doing the postmodern thing in Mistborn again. That piece of me began to ask some difficult questions. Did I want to be known as “The guy who writes postmodern fantasies”? There would be worse monikers to have. However, one of the major purposes of deconstructionism, is to point out the problem with self-referential material. There was a gimmick to the Mistborn books. It was a very useful one, since it allowed me to pitch the book in one sentence. “The hero failed; this is a thousand years later.”

There are a lot of very good postmodern stories out there, and I love the Mistborn books. But my heart wasn’t in doing that again. In order to write Mistborn the way I did, I also had to rely on the archetypes. My characters, for example, were very archetypal: The street urchin. The clever rogue who robs to do good. The idealistic young nobleman who wants to change the world. My plots were very archetypal as well: a heist story for the first book, a siege narrative for the second. I believe that a good book can use archetypes in new ways without being clichéd. (The Name of the Wind is an excellent example.)

In fact, it’s probably impossible not to reflect archetypes in storytelling. I’m sure they’re there in The Way of Kings. But I found in working on it that I didn’t want to intentionally build a story where I relied upon reader expectations. Instead, I wanted to look for themes and character concepts that I haven’t approached before, and that I haven’t seen approached as often in the genre.

There’s a distinction to be found. It’s much like the difference in humor between parody and satire. (As I define them.) In the first, you are funny only if your audience understands what you are parodying. In the second, you are funny because you are innately funny. Early Pratchett is parody. Mid and late Pratchett is satire. (Not to mention brilliant.)

And this is why, in the end, I decided that I would not write The Way of Kings as a postmodern epic. (Not intentionally, at least.) Mistborn felt, in part, like a reflection. There were many original parts, but at its core it was a study of the genre, and—to succeed at its fullest—it needed an audience who understood the tropes I was twisting about. Instead of making its own lasting impression and improvement on the genre, it rested upon the work done by others.

In short, I feel that using that same process again would make it a crutch to me. There is nothing at all wrong with what Mistborn did. I’m very proud of it, and I think it took some important steps. But it’s not what I want to be known for, not solely. I don’t just want to reflect and study; I want to create. I want to write something that says, “Here is my addition, my tiny step forward, in the genre that I love.”

To couch it in the terms of the Jewel video that started the essay, instead of creating a piece of art that screams, “Hey, look at those other pieces of art and hear my take on them,” I wanted to create something that says, “Look at this piece of art. This is what I think art should be in this genre now.” Part of me thinks that a video that was beautiful for its own sake, that didn’t rely upon the follies of others, would do more toward undermining those follies than would a video that pointed them all out.

And so, I tossed aside my desire to confine The Way of Kings into a single, pithy sentence explaining the slant I was taking on the fantasy genre. I just wrote it as what it was.

Brandon Sanderson

Chapter Twenty-Nine

This is probably my favorite section from the logbook. It really comes together here, weaving in elements from the various epigraphs, making a story out of what the reader has previously only seen in pieces.

I hope this story-within-a-story is interesting to you. It really does have a purpose in the novel, as you'll eventually see. At the very least, I should hope that the concept intrigues you. The past story is, after all, the standard fantasy novel story–the young peasant hero who follows the prophesies to rise up and defeat the dark lord. Except, as you can guess, something went wrong.

Though I try to avoid writing the standard fantasy story, it intrigues me. That's why I wanted to have these epigraphs make reference to the concept. They let me play with what has come before me, without actually forcing my readers to spend all their time reading "my" interpretation of the same old story. (It seems that every fantasy author has their own spin on this story–yet none of them realize that as a reader, I don't really want to read a new spin on an old story. I want to read a new story.)

Brandon Sanderson

They were dinosaurs - and they were very, very realistic.

And, here, after numerous attempts, the dinosaurs are finally useful and important. That makes me so happy. Even if they are going to end up dead anyway.

(Though I’m contemplating finding a reason to let them survive. They really are just too cute to kill.)

Questioner

What happened to Alcatraz?

Brandon Sanderson

What happened to Alcatraz. Well he almost got sacrificed to the dark powers by a cult of Evil Librarians but he survived to write his autobiography-- No, you mean the books. I wrote the fifth book this summer after researching for The Aztlanian long enough that I realized I have to do more research before I can finish it. So I stopped, knew that I wanted to write another middle-grade, so I stopped and wrote Alcatraz 5 and gave it to Tor. They're planning to publish it next year. They're going to start with Alcatraz 1 in January with new art and things like that, publish those first five and do the sixth book sometime in June-- Or fifth book in June is what I think. So republish the first four and then publish the fifth.

f***yeahdiomedes

What limits are there on how fast someone with steel Feruchemy can go? Like is it more based on the limits of what the body can survive?

Brandon Sanderson

Yes, I will dig into that eventually because I actually have to run the math and just decide. It’s certainly, *pause* there are hard, very hard limits, let’s just say that. But the body generally is...I fudge Feruchemy a little bit, where I allow the body to adapt to what it’s doing for most Feruchemy. Otherwise I just couldn’t use it for very much.

Brandon Sanderson

The Butler

If you watch in these scenes, I'm trying very hard to set up the butler's eventual betrayal. This one must be done very carefully, however, for a couple of reasons. First off, Tillaume is actually a pretty good person. Loyal to Wax's uncle, true, but a good man. He doesn't want to kill Wax, but he sees it as important and understands what must be done.

What he is doing here in discouraging Wax is an attempt to keep him from drawing the old Lord Ladrian's attention. Tillaume knows that if it goes too far, Wax will have to be removed. But Tillaume is fond of him, and doesn't want that to happen. Hence his disapproval. He doesn't actually know he''ll be ordered to kill Wax; in fact, if he had known that he'd be responsible, he probably would have tried harder to sabotage what Wax is doing in these chapters. It takes him a little by surprise that Wax does all this, however, as Tillaume thought he'd sufficiently discouraged such behavior.

Vegasdev

Did Gemmel survive into the series or did he perish before Mistborn One?

Brandon Sanderson

This will be answered in the short story in the Mistborn RPG, if all goes as planned.

Brandon Sanderson

Sazed Defends the Gate

The Sazed fights scenes interest me because of how much of a contrast they are to the Vin fights. Sazed's scenes are so brutal–strength against strength, blunt fighter against blunt fighter. Vin fights with grace. Sazed is just trying to stay alive.

I worked a lot on the plotting here of making Sazed's gate hold so long. When I planned the siege of Luthadel, I knew that I would need a very deep, character driven set of scenes with Sazed. It was the only way I felt I could add something new to this plotting sequence. The heroes defending their city during a siege has been done before. (One notable example being in The Lord of the Rings.) I was worried that I would be bored of writing these scenes, and so I decided to head that off by focusing in on Sazed here, who I thought would approach a battle like this in a new way.

I don't know what readers thought, but I found myself drawn very much into writing the scenes, which is a good sign. They up going longer than I'd anticipated, which is another good sign. Something about the contrast of the quiet religious scholar in the middle of such a terrible war was fascinating to me.

So fascinating, actually, that I forgot to write Ham into any of the scenes in these chapters. I didn't remember him until about chapter fifty-five. It was then that I remembered that the best warrior in the group had disappeared for the entire fight. So, I wrote him in, and added him to this chapter where Sazed gets to Breeze.

You'd be surprised at how often writers do things like this, forgetting a character. It's a tough call sometimes to keep track of everyone who is involved in various parts of a complex plot. Don't even get me started on the challenge of keeping track of everyone while writing in the Wheel of Time world.

Dawnshard (paraphrased)

So I asked Brandon at the LA signing if he could tell us about a shard that we don't know anything about (including the survival shard) and he said that there was a shard that isn't on a planet. Now I think this means that the shard is either on an asteroid, or a star. It could also be floating in space or on a moon and influencing from a distance. I will repeat it is not any shard we already know about.

Peter Ahlstrom

Okay, just for my amusement, here's an analysis of your books so far (the ones I have):

White Sand I 1.0 - 0.49 pptt (pause per ten thousand words)

Star's End 1.0 - 0.34 pptt

Lord Mastrel 1.0 - 0.83 pptt

Knight Life 3.0 - 0.40 pptt

The Sixth Incarnation of Pandora 1.0 - 1.48 pptt

Elantris 6.0 - 3.51 ppttElantris 8.6 - 4.16 pptt

Dragonsteel 7.0 - 5.70 pptt

White Sand II 2.7 - 6.11 pptt

Mythwalker 0.6 - 10.2 pptt

Mistborn Prime 4.0 - 9.63 pptt

Aether of Night 3.0 - 11.99 pptt

Final Empire Prime 1.0 - 9.65 pptt

Way of Kings 2.1 - 8.1 pptt

Mistborn Final Empire 2.0 - 10.97 pptt

Mistborn Final Empire 3.1 - 11.56 pptt

Mistborn Well of Ascension 3.0 - 13.25 pptt

Alcatraz Initiated 4.0 - 8.71 pptt

Mistborn Hero of Ages 3.0 - 9.68 pptt

Warbreaker Parts 1-2 1.2/1.0 - 11.5 pptt

Star's End and Knight Life only have 3 pauses each! Anyway, there's an upward trend, and then it more or less levels off. :) It took reading the book out loud for me to notice it. I have no idea how this compares with other writers. Well, the book I just rewrote has 2.47 pptt.Make of that what you will.

cinderwild2323

What were you dissatisfied with in WoR?

Brandon Sanderson

It's twofold. Spoilers follow, obviously.

In the original draft, none of the alpha readers felt that I had 'sold' Jasnah dying to them, and were all like, "Ha. Nice try. No body. She's alive.' So I kicked the assassination scene up a notch, until betas were like, "Stormfather! Jasnah just died!"

That was a mistake, I now believe. (Though this didn't get changed, and won't get changed.) Sometimes, I over-emphasize to myself the importance of surprises and twists. The book is fine if readers suspect Jasnah is still alive--actually, I think it's stronger, because it is more satisfying to be right in that situation, and doesn't detract from Szeth's miraculous survival at the end.

I knew this soon after I'd released the book, but decided it was just too extensive a change to try tweaking.

The other one I did tweak. In the battle at the end between Kaladin and Szeth, I'd toyed with letting the storm take Szeth--him essentially committing suicide--as opposed to him spreading his hands and letting Kaladin kill him. I felt that after the oath Kaladin had just sworn, stabbing a docile opponent unwilling to fight back just didn't jive. This I tweaked, changing the paperback from the hardcover, which has produced mixed results.

Most people agree the change is better, but they also say they'd rather not have the hardcover and paperback have different accounts in it, and would rather I just stick to what we put in the hardcover. It was interesting to try, to see what the response would be like, but it seems that the better option all around is to just wait until I'm certain I don't want to revert any of the revisions or tweak anything new.

Brandon Sanderson

Straff Survives

Straff is, indeed, alive. A lot of alpha readers were surprised to read this scene because they figured he was dead after the last one. I, however, have a few more things for him to do–plus, you can't kill a villain in a fade out like that without some good confirmation. It's just not dignified.

Oh, and of course, he needs to be alive so that he can pull his armies back and let the koloss attack.

Brandon Sanderson

Epilogue

The End

This epilogue ties up a few loose ends, then sets up a couple of others. Much like most of my endings. At least now you know how Vin Snapped. Many people have wondered this, so I thought I should include it somewhere in the book.

Here, with Vin and Elend in the flowers, is where I could have made them survive, if I'd wanted to. I could have patched everything up and given the "happy" ending a lot of people wanted. But . . . well, I just couldn't. It didn't feel right. Anyway, I agree with Sazed. They deserve to rest. I added the line about him having spoken with them to soften the blow of their deaths somewhat and give confirmation of a pleasant afterlife for them.

This chapter is a reminiscence, in a way. Since book one I've promised a return to green plants and a blue sky, and it was always my intention to make good on that promise. I think it's sometimes hard for people to remember that in the Final Empire, the plants were brown and the sky red. I don't think that matters so much, as I believe Spook and Breeze's reactions—and the descriptions—in this chapter work to provide the proper impact.

Flowers have been another thread, along with the little picture that Kelsier carried around in book one. I'm glad I was able to weave that back in, though it was an afterthought. (As was adding it into this book from the early chapters with Vin and Sazed together.)

That first line of Sazed's book was not an afterthought. It can be found as the very first epigraph of this book. I am, unfortunately, the Hero of Ages.

Yes, Sazed. You are.

Brandon Sanderson

So what you've got there is the beginnings of me exploring an idea I had many years ago, about a world where bacteria and viruses would grant magical abilities in order to keep you alive long enough to spread the disease. It's this basic survival instinct, if they were somehow able to grant this. So you catch the common cold and you can fly, until you get over it and you can't anymore. I thought "Wow, you would need some super CDC soldiers--right? Center for Disease Control--to keep this from getting out of control."  his is kind of a cross between counter-terrorism and the CDC, in a fantasy world where when you catch a disease you get a magic power. Pretty weird.

Kurkistan

Could Miles heal back his Allomancy if it was spiked out of him?

Brandon Sanderson

No, he could not. He would no longer be an Allomancer. Also, he'd probably be dead. :)

Kurkistan

Thanks!

I'd thought maybe he could just do some super-tapping from his existing Health in his goldminds (since he'd still have his Feruchemy)...

Brandon Sanderson

Oh, I see what you're asking. Using Feruchemy to heal the removed portion of soul. That's actually plausible, not so different from healing other kinds of soul-wounds. If he survived, then yes, this actually might work. (That's why I get for reading the questions so quickly.)

Questioner

So, when Vin and Kelsier are running around spewing those coins everywhere. I assume that leaves coins all over the place. So, what happens to all that money? *laughter* ...Are there conceivably skaa who could make a living?

Brandon Sanderson

...I got asked this in my writing group, way back when. Way, way back when. I got in alpha reads and beta reads too, people are like "They're just throwing coins all over!" I'm like, "Yeah, it's a meaningless amount of money to them at that point, and is cheaper, in a lot of ways, than going and buying bits of metal, because of the way--" Anyway. The answer is, they just get left there. And there are skaa who have a very lucky day the next day. Because to them, that money isn't a throwaway amount. And you could conceivably do very well watching where Mistborn went, and following after them. I'm not sure if there are people who do that. But it would make for a nice story, so we can imagine that there is at least a few people who try to track where they are. I mean, the problem is, once you start into that effort, you start to get to the realm of people who that money is insignificant to again. So, like, no underworld crime lord is gonna track where Mistborn are to go gather the clips that they drop for jumping around. It just isn't worth their money. But one of the things you see in an economy like in the Final Empire is that the wealth disparity is such that, for some people, that could be worth their time.

Questioner (paraphrased)

Who did the Crownlands historically belong to before there was a king and what purpose do they serve now?

Brandon Sanderson (paraphrased)

At the moment the Crownlands are the property of the king and work for him, to earn money or to give them away to a lord. Before Gavilar, they belonged to some princedom.

Brandon Sanderson

This is where the writers can exploit this a little bit, and it's always a balance, right, as a novelist. The original question was: Alexander the Great survived, famously, a punctured lung. And so, the fact that it does happen means you can get away with it in your fiction, you can get away with a lot of things. But as it was brought up earlier on the panel, one of the things we try to do in fantasy, and I would say the hallmark of an epic fantasy is the sense of immersion. That's why we are writing epic fantasy, we want to draw people in, and while you are reading this book you want to feel like this is a real place and these are real events that happened.

Brandon Sanderson

Chapter Eighty-One - Part Two

Charging Them Is Madness

Vin probably should have figured out what Elend was doing, being kind of a god now and all. (Or at least she has a fraction of a god inside of her.) However, remember a few things.

She doesn't know that many of Elend's troops have been turned into Allomancers. She's also been very distracted lately. On top of that, the man she loves is charging two hundred thousand koloss. Even if she'd connected that he'd be burning atium, her opinion would still have been that he couldn't fight that many and survive.

In the end, she was right. So her concern was warranted.

Questioner

I really love this book so much. Kaladin is my favorite of like any book character ever, so that's why that. Like he needs to be hurt, but not too much. Don't hurt him too much, please.

Bystander

Now he's going to kill him off, just for you.

Brandon Sanderson

Kaladin has some rough--has some rough things to deal with in his life. But he survived Bridge Four, so I don't think anything will ever be as bad as that. That's the thing.

Brandon Sanderson

Chapter Forty-Nine - Part Two

The Canal Genius

Lord Fedre, the infamous nobleman mentioned here for his research in canals, is none other than my editor, Moshe. He got several cameos in relation to canals, as he was the one who suggested the use of them way back in book one as a way to enhance the feel of the series and give it the right technological level.

Questioner

What's the most important thing to do when writing to ensure that the story has the tone you want it to have?

Brandon Sanderson

Boy, I'm not sure if there's a one catch-all most important thing. The answer, unfortunately, to most writing questions is: practice a lot, and then show your work to people and get feedback, and then learn how to target it better. With tone, one thing I've noticed that is really tough to pull off is switching very frequently between something that's supposed to be humorous and something that's supposed to be serious. And this is not a bad instinct, because some of the great filmmakers and writers we know are able to do this. This is like a Joss Whedon hallmark, right? We're gonna go from witty comeback to sudden gravitas in the matter of, like, whiplash. So we're like, "Wow, I like movies like that, I like books like that. Terry Prachett can make me laugh and then make me cry in the space of a page. I want to learn to do that." But it is really easy to have your tone go completely off the wall when you're trying to do something like that. And whenever I fail on that thing, on tone, it's almost always because I'm trying to inject something funny into the middle of something with a lot of gravitas.

This actually happened-- "Funny" is maybe the wrong term for it, but in the last Wheel of Time book, a scene we cut. The beginning of the Wheel of Time book, to not give spoilers, start with a really dramatic fight scene where some people are struggling to survive under terrible situations, and they are getting picked off and dying, and things are burning. And I alternated that with a different scene I had written separately of several characters getting engaged. Which were both scenes I wanted in the book; but when I finally came to fold the stories together, these different threads, this one went opposite this one, and wow, it did not work. It was so bad. You would be reading these scenes about people dying, you'd be like, "I'm not interested in the people getting engaged." Even though it's something that maybe you've waited for the entire series to read because of the tone mismatch of where you're jumping back and forth. So that was one where we actually cut out the scene of the engagement, and just let the scene that was the more powerful scene stand on its own.

Herowannabe

If I remember correctly, you did several fanart pieces of Brandon's novels, specifically Mistborn, before he ever commissioned you to do anything for him, right? What was your first introduction into all things Sanderson? And what's the story of him commissioning you to illustrate for him?

Ben McSweeney

SO! Storytime.

The first time I heard the name Brandon Sanderson was around 2007. I was listening to Mennege and Stackpole's old Dragonpage Cover to Cover podcast (283A), where they used to talk craft and industry of genre novels and interview authors.

Brandon was there to talk about The Well of Ascension. I heard his elevator pitch (fantasy heist novel, superpowers, dark lord ruling for 1000 years, etc), and then he talked a bit about his thoughts on creativity and writing and I heard a kindred spirit. He and I have very similar views on creative production and craftsmanship, and I liked what I heard so much I went out and bought the first Mistborn novel, then the next, then the third in hardback when it came out.

I was especially hooked by his visually arresting concepts; men with steel spikes through their eyes, flat heads catching the light like Gendo specs, gleaming points emerging from the back of their skulls like horns? Giant raging blue hulks with their too-tight skin tearing off their muscles, carrying Big Damn Swords of pitted, jagged iron? Cloaked figures soaring over misty spired rooftops on invisible threads of force, flinging coins like bullets and slamming each other around with super-strength?

Yeah, I can work with that. :)

I figured what the heck, it'd be fun to draw new fan-art even if nothing came of it. I sketched up some Vin and Inquisitor and Koloss pieces, really basic stuff, and began posting to his fan-forums on the old Time-Waster's Guide (now long gone).

Unbeknownst to me, at that same time Brandon was looking into the market for a concept artist. Suddenly here I was on his doorstep, reasonably competent and already showing what I could do with his descriptions. He got in touch and let me know that he wanted someone to help him with a new project, a pitch for a series of epic novels that would require a strong visual component. And he was going to pay me.

Didn't even try to lowball.

So there's my "lucky break" story. Right place, right time, right work, right guy, right on.

Nathan Morris

How did you become interested in being a writer?

Brandon Sanderson

My start as a writer can be traced back to when I was fourteen years old. I was not a very distinguished student, so to speak: Bs and Cs in all my classes. I really didn't have any direction, either; there was nothing I really loved to do. I was also what they call a "reluctant reader". My reading skills were not fantastic, so when I tried reading Lord of the Rings for the first time, it was just completely over my head, and I assumed that all fantasy novels were boring. It was a teacher who handed me the very first fantasy novel I ever really finished reading. The book was called Dragonsbane by Barbara Hambly, and it had this gorgeous Michael Whelan cover on it which immediately caught my eye. I read the book and absolutely fell in love with it. I became an avid reader, mostly of fantasy novels, over the next couple of years. Soon I began to think, "You know, somebody out there is making a living at this, and it seems like it's something that I would really enjoy doing." That's when I found some purpose and direction.

There were certain influences in my life, my mother primarily, who convinced me that being a writer was hard to do, and she was right. It's one of these jobs where not everybody who tries it actually makes it. She convinced me to go into chemistry during college because I had done well in the sciences all throughout high school, thinking I could write in my spare time and have a real, solid job. It wasn't terrible advice; I'm just not sure it was the right advice for me at that time. I served a mission and during that time I was very, very pleased to be on another continent, away from chemistry. I really missed writing, though, because I'd been doing it for fun all through that freshman year before I left. I actually started my first novel when I was fifteen, but it didn't go anywhere. It was rather derivative and all those things that you expect from the majority of novels written by guys in high school. Knowing I could actually produce something, though, gave me some encouragement. Of course I didn't show it to anybody. I hid it behind the painting in my room because I didn't want anyone to see the pages I'd printed out and make fun of me.

When I got back from my mission, I thought, "You know what? I'm going to give it a try." It sounds kind of stupid, but like I said, there are people that get to do this for a living, and I decided that I was never going to be happy unless I gave it a shot. So I changed my major to English because I assumed that's what you did if you wanted to be a writer. I've since learned that that's not the only way to go about it, but it did work for me. It gave me a much better grounding in the classics. I was able to take some creative writing classes too, as a part of my required credits. I got a job working the graveyard shift at a hotel, which was great for my writing because I was there most weeknights from 11 pm until 7 am, and the only requirements that they put me to were, "Just don't fall asleep. Do whatever you want, just don't fall asleep. We need you awake in case there's an emergency or if anyone comes in." I ended up spending a lot of my time working on novels during those early morning hours, and that's how I was able to pay for school, attend it full-time, and still have time for writing. I did that for about five years until I eventually decided that I would go back for a master's degree. It was sort of a way to delay having to make the inevitable decision of what I was really going to do with my life. My backup career then became working as an English professor, partially because I do enjoy teaching, and I enjoy scholarship on the academic level. My parents were worried about me, though. They were afraid that I was going to end up begging for beans on the side of the road, or whatever it is that starving artists do. At least being able to tell them that I was getting a master's degree was helpful. It was also nice to be part of a community of writers and to be able to see what other people were creating.

PyroSkink

Is each book in this series a focus on a particular character? Did I read that somewhere?

Brandon Sanderson

Each one has a flashback sequence dedicated to a certain character, and a plot that has something to do with the flashback sequence. I do this to help differentiate them, and we sometimes call it "their" book--but that's a little of a misnomer, as the main plot may not revolve around the flashback sequence. It will simply relate to it.

PyroSkink

Ah right. It was Kaladin then Shallan, next is Dalinar? Or is it Szeth?

Brandon Sanderson

This one is Dalinar most likely. Then (probably) Eshonai, then Szeth. Unless I swap those two.

Back five are Lift, Renarin, Ash, Taln, Jasnah. Not necessarily in that order. (Though that is the planned order right now.)

I do have to give my standard disclaimer. Someone getting a flashback sequence does not indicate they survive until that book. I'm fully willing to flashback to a character who died in an earlier volume. So that isn't as much of a spoiler as it seems.

And Taln is defined as "The man who thinks of himself as the Herald Taln, and whose viewpoint we got briefly in Words of Radiance."

Brandon Sanderson

Chapter Seventeen - Part Two

Sazed calls Breeze by his real name–Ladrian–for the first time in this chapter, I believe. Breeze doesn't like going by this name. You'll see later that he tries to get people (or, rather, Sazed, who is the only one who uses Breeze's real name) to avoid calling him Ladrian.

The reason is simple. Ladrian is the name that Breeze went by when he was growing up. He's actually the only one on the crew who is a full-blooded nobleman. (More on this in book two.) None of the others know this, of course. He's come to the underground from the opposite direction of everyone else–down from the top. He has let some few people know that his real name is Ladrian (mostly on accident, when he was younger) and the name has stuck.

It's a common enough name in the Final Empire, but someone COULD theoretically connect him to one Lord Ladrian who disappeared from noble society some number of years back. He doesn't, of course, want anyone in the underground to know he's actually a full-blooded nobleman, otherwise he would loose credibility–and maybe even gain the anger of people like Kelsier, who hate the nobility unilaterally.

So, he pretends that he finds the name unsuitable for other reasons, and asks people to just call him Breeze. None of this, of course, gets to come out in the book. Otherwise, I wouldn't have just told it to you. I just don't have the chance to develop Breeze as I would like here. So, those of you reading this can feel vindicated in the fact that you've gotten some true insider information! Breeze will, for those of you who are his fans, get some viewpoints in the next book, which will expand his character somewhat.

Brandon Sanderson

This was the first novel I wrote knowing for certain that it would be published. That was an odd experience for me, after having written some thirteen novels without ever knowing if I'd make it as a novelist or not.

So, in a way, this is my celebration novel. And, as part of that celebration, I wanted to include cameo nods to some of the people who helped me over the years. We get to see characters named after my friends and alpha readers, the people who encouraged me to keep trying to get published–my first fans, in a sense.

So, a lot of the names of side characters come from friends. Stace Blanches, mentioned in the last chapter, is Stacy Whitman, an editor at Wizards of the Coast. House Tekiel was named after Krista Olson, a friend and former writing group member. (Her brother Ben is my former roommate.) Ahlstrom square was named after my friend Peter Ahlstrom, who is an editor over at Tokyopop. There are over a dozen of these in the book–I can't mention them all.

I do, however, want to point out Charlie–or, as he's called in the book, Lord Entrone. I've never actually met Charlie, but he's hung out on the timewastersguide message board for the last three or four years. He was my first British reader. I figured I'd commemorate that by having his dead body get dumped over a wall by Kelsier.

Spook is actually based directly on someone I know, but I'll get to that later.

Ben McSweeney

i do have a rough design for this, because we had Dalinar's bridges appearing on the endpaper illustration that I helped Michael with. We ended up making them veeeeerrry small in the final, but a design was roughed out for 'em nevertheless.

I should warn it's even less canon than my sketches for Sadeas bridges. But I'll see what I can dig up.

-EDIT-

Threw this together out of some loose stuff I had laying around. In the corner is part of the original sketch I had sent to Michael. Then I added some step-by-step sketches and filled out the remaining space with miscellaneous unseen stuff.

I must emphasize once again, these are not Brandon-approved concepts. Half of it isn't even that well thought-out, it's just a draft so I could wrap my head around the idea for the purposes of background details. I am also not an engineer.

http://i.imgur.com/WNRJsS8.jpg

Anyhow, I had the idea that the hinge is the weak point, but it also doubles the length you can extend, so I added two large posts that would extend to counterweight the bridge during operation and then push the other way to support the surface of the bridge during the crossover of the tower. Not only does the raised bridge shield your troops from fire up to the drop point, you can station archers in the upper portions to rain fire down upon the enemy that defends your landing position.

The downside to all of this, of course, is that it's sllloooowwww... and of course, these big towers with their support crews and complex engineering are a lot more costly than throwing thirty or forty slaves under a wedge of timber and forcing them to run, drop, lift, run, drop, lift, run, drop, die. Dalinar's crews have a decent chance of actually surviving their runs. Dalinar's bridges can also cross slightly wider chasms than Sadeas's (I don't recall if that's from the books or just me trying to give this design a bit of an advantage).

There's probably a smarter way to handle the hinge and counterweight issue than those long posts, but I haven't given it much thought.

Skaiiwalker (paraphrased)

Did any kandra survive the end of Hero of Ages?

Brandon Sanderson (paraphrased)

Yes.

simon_thekillerewok

Is there a Shard named Survival?

Brandon Sanderson

RAFO.

Questioner

How did you get into map drawing?

Isaac Stewart

You know I mapped out things like The Legend of Zelda when I was eight years old. I was fascinated by my dad's paperbacks of The Lord of the Rings and the maps that were in those. It's just, I was doing maps like that for a while but when he asked me to do a map he didn't know that. It's worked out well so far.

Questioner

In the second series of Stormlight Archive, are they going to be about the same characters?

Brandon Sanderson

That's an excellent question. So when I sat down to build The Stormlight Archive, there were a couple of things that I learned from The Wheel of Time. One was that the further an epic fantasy series goes, the more important it is that you have a structure to the series. It's very easy for the books to start blending into one another, and it's also very easy to let side characters take over books. This is very natural for us as writers, particularly in a big epic fantasy, and I felt that when I approached The Stormlight Archive there are a couple of things I did. One is that I said "All right, I'm going to confine all my side characters to these things called interludes, where I can just go crazy and do whatever I want, but they have to be like, isolated in their own containment unit called the interludes to prevent me from turning from the books just going in all directions at once."

The other thing I said is, "Each book is going to be about an order of Knights Radiant, and it's going to have a flashback sequence directly tied to that order." So that when you say "All right, which book is book three," you're like, "Oh, that's Dalinar's book, that's the Bondsmith book." All of the characters are in all of the books, but each book has kind of its own soul and theme that helps me as a writer structure where I'm going to release information, and what it's going to be about. And so when I set down this, I said said "I'm going to pick 10 characters, 10 orders (and they are not always going to be exactly what you expect), but I'm going to build each book to have a theme based around those things."

The first five were Dalinar, Kaladin, Shallan, Eshonai and Szeth. So those are the five books you are going to get in the first arc. And the second arc is Lift, Renarin, Ash, Taln and Jasnah, right. Now, all the characters from the first five will be in all those books, and some of them will still be main characters. You can expect it, like it is one series. All the ones that survive *crowd groans* no spoilers. But you can expect in the back five, people that you are expecting that are main characters now will still be main characters, and you will have a lot of space dedicated to them still, but the flashback sequences, and the themes of the book, will focus on those five. And so it hopefully will help it all have a structure and a feeling. 

Between book 5 and book 6, in-world, there will be a time jump of about 10 years, so just be expecting that. But I can't say anything more without getting into spoilers, so I won't. But that's what you can expect.

ericth

What is Odium's edge? Vin and Ati killed each other, but Rayse has downed 3 shards and survived. Was it skill, ability, numbers or possibly un-dispersed power?

Brandon Sanderson

Some combination of the above.

Questioner

Could a Threnody Shade survive on another world?

Brandon Sanderson

Theoretically, yes. But they are highly Invested, and leaving a world where you're highly Invested behind when you have that Investiture is difficult, as Kelsier discovered, and as most spren discover.

Brandon Sanderson

Chapter Two

Moshe mentioned to me that we're going to have to do a book after the Mistborn series that doesn't have such a gloomy setting. First, I had Elantris, with the city full of dark sludge. Now I've got Mistborn, with the entire world full of black ash.

The coincidence wasn't intentional. Remember, for me, there were seven books in-between Elantris and Mistborn . Most of those had far more cheerful settings. However, this story–which is based around a world where the Dark Lord won–kind of required a depressing atmosphere.

BipedSnowman

This is just a little thing I thought of that is kinda neat. Symmetry on Roshar is seen as holy, but the letter H can be used in place of another consonant without "spoiling" the symmetry.

Is this because of the spelling of the name Honor? If the H is a stand-in for the R, it makes the name symmetrical.

Dickferret

Where is the "h" thing mentioned?

BipedSnowman

I am copying this from somewhere else, but apparently WoR chapter 47. (I guess i tagged the post wrong, but it's just barely a spoiler anyway.)

""Bajerden? Nohadon? Must people have so many names?" "One is honorific," Shallan said. His original name wasn't considered symmetrical enough. Well, I guess it wasn't really symmetrical at all, so the ardents gave him a new one centuries ago." "But ... the new one isn't symmetrical either." "The 'h' sound can be for any letter," Shallan said absently. "We write it as the symmetrical letter, to make the word balance, but add a diacritical mark to indicate it sounds like an h so the word is easier to say." "That - One can't just pretend that a word is symmetrical when it isn't!" Shallan ignored his sputtering [...]"

pwnt1337

Is this similar to the many interpretations of the spelling and pronunciation of YHWH?

Brandon Sanderson

Hebrew, among a few other languages, is an inspiration for some languages in the cosmere. (One of them is Alethi.) That said, in this case it's more like how in some Asian countries, they would give honorific names to famous scholars or rulers after they pass away.

Brandon Sanderson

Chapter Fourteen

They Visit Ranette

Ranette was a late addition to the story. I didn't start building her until I was working on chapter ten or so. (All earlier references to her were added in during revisions.)

I was feeling there was a hole in the story, that it needed one more character, probably a woman. I also wanted to add a gunsmith to the book, and so I started working on who she would be. Some hints of her personality came from the other character from the original short story. (Remember, the person who became Wayne was riding into town on a kandra with a horse's body. That kandra was female.) The personality I'd been developing there eventually jumped rails to become Ranette.

She's not kandra any longer, and I shifted some pieces of who she was to make her a more complete person. If you didn't catch the hint from Wax, she is indeed a lesbian, though it's not much of a big deal for the book. I try to find places for LGBT characters in the novels. (There's another one in The Way of Kings.) However, I back off from making much of an issue about it.

I guess I could be accused of not giving them full representation because of the fact that they usually have minor roles. The truth is that I'm worried I'd just do a poor job of it if I tried to write from their viewpoint; being gay is one of those things that tends to be very dominant in a person's way of seeing the world. It seems that there are a lot of pitfalls that I could saunter right into. I've think I've learned, after a lot of work, how to write female characters who (hopefully) don't feel wrong. However, I haven't taken the dive in trying to figure out how to write a gay or lesbian character.

But that's only one reason. There's a deeper one for me. Ranette will likely get viewpoints in the series, when I do more Wax and Wayne books. However, the books aren't about sexual identity, so I'll probably steer clear of that topic. In a way, I think that making a big deal of it could be more harmful. One of the reasons I put LGBT characters in my books is because they are a part of our world, and deserve representation in fiction. It's strange to think that in our world, LGBT people make up a significant minority of the population, yet in fiction (particularly fantasy fiction) they tend to either vanish completely or the story has to be all about who they are and their sexuality.

This strikes me as a bad way to do things. Just like not every book including women characters should be about feminism, not every book including LGBT characters should be about sexual orientation or gender identity issues. If they are, then that just highlights the supposition that they're out of the ordinary—it draws attention to that idea, rather than simply letting them be characters with a larger role in the story. We don't care about Lord Harms's sexuality, or Mister Suit's, or that of Miles. Why shine a big spotlight on Ranette's? It just seems divisive to me.

Anyway, those are just a few of my thoughts on the topic. Perhaps they will change as I ponder on it more.

Questioner

So it's one thing to write a book, how do you pitch a book then? What was the hardest pitch?

Brandon Sanderson

Oh pitches are hard. How do you pitch books, is what she's asking. So hard. You know what taught me to pitch books was standing in book stores. In my early days I would ask them, like I would do a signing at a Barnes and Noble and no one would come of course, because no one had ever heard of me. So it was really me standing behind a cart by the door, trying to shill my book to everyone who walked in the doors. Very used car salesman. "So, you like fantasy novels? You know anyone that likes fantasy novels? Have you heard of The Hobbit?" And so what I had to do it I had to come up with a two sentence way to tell people what my book was. And so if you have a book I would practice on just people-- you know, your acquaintances and say "Can i tell you about my book I just so I can practice", see if you can get it down to two or three sentences. And once you start doing that you'll get a feel for what things you can talk about in your book that made people say "Oh, that's cool" and what made their eyes glaze over. Usually stay away from a lot of names and background stuff, and point toward one great concept in your book, whether it's a character concept or what. When I pitched Mistborn I'm like "what if the hero who'd been prophesied to save the world failed?". Like what if Frodo had gotten to the end of Lord of the Rings and Sauron had said "thanks for bringing my ring back, I've been looking for that", and killed him and took over the world? You know, "what if", and that was how I started that one. 

Questioner

And was that how you pitched it to your publisher?

Brandon Sanderson

When I pitched the publishers I was not nearly as good at it as I am now and I just relied on my writing sample to get me through. My pitches were terrible, so don't-- It's very hard to learn but the only way to do it is to practice with people. That's good, that's going to take you further than anything.

Graendal

A question that's been on my mind for a while. If Returned can't have children, how are Siri and Vivenna descended from one?

Brandon Sanderson

Excellent question. One I have to RAFO. When I was writing WRBRKR, I was planning on two books.

I seeded two questions to be answered in the next book. One was the origin of the royal family..

The second was how Vasher was able to survive while hiding his divine Breath. I will answer these questions.

Eventually. (It has to do with restoring Breath and life to the child while still in the womb.).

Questioner 1

How did Marsh survive for so three hundred years and *inaudible*?

Brandon Sanderson

Compounding atium. He got a little pouch that one of the kandra gets sent out with if you watch, and then Marsh shows up and he has the pouch.

Questioner 2

<When is that>?

Brandon Sanderson

Go look for the little pouch of atium.

Brandon Sanderson

Originally, the nobleman Kelsier met with was Lord Hasting. This was the only place he appeared in the book. I decided in a rewrite to introduce Elend's father here instead, since he's a character we’ll see much more from.

I also strengthened Straff in this scene. Before, he came off too weak as he bought the lies Kelsier told him. (Which, by the way, I've weakened. I realized that spreading too many falsehoods would be dangerous, and not really effective. Kelsier needs to whisper half-truths, rather than outright lies.)

Herowannabe

I've got a Vasher question too. In Warbreaker he's not really much of a swordfighter but in his later appearance--

Brandon Sanderson

In Warbreaker he is better than you think he is, but he is tired of fighting. He's just completely-- You know at this point he's several hundred years old, and he created a sword, he's a swordsman. He knows his way around a sword but he is worn out emotionally and just doesn't want to be fighting and things like that. And plus he's had Nightblood, he doesn't need to, right? Nightblood, you swing Nightblood and it doesn't matter how good you are with a sword, really. You know which direction to point him and disaster happens. And so he's much better than you think he is.

Herowannabe's wife

But now he doesn't have it anymore.

Brandon Sanderson

But now he doesn't have it anymore, and now he kind of has to survive-- He has to make a living somehow and this is something he was good at.

Questioner

So we already know that Vasher was Kaladin's trainer with a Shardblade, 'cause you told me that last time I asked you. So does Vasher just have a large mass of Biochromatic Breaths and that's how he's surviving, or is he somehow feeding off Stormlight while he is there?

Brandon Sanderson

He is feeding off of Stormlight, which is the primary reason why he came to Roshar. Investiture is easy to access in plentiful amounts.

Questioner

How did he know how to use Shardblades so well when he got there, is that related to how they created Nightblood

Brandon Sanderson

Yes, he has experience with Roshar from hundreds of years ago.

Brandon Sanderson

Siri Enters and Sees Returned

Just a little note here. Returned live for eight days without a Breath, though the week is seven days long in this world. Why? Well, I figured that they'd need an extra day as leeway. On day seven, they start to grow weak and sluggish. If they don't consume a Breath, their body will consume their own on the eighth day of their life, and they'll die again.

In some parts of this world, Returned aren't worshipped, but instead seen as something akin to vampires. They draw in Breath to survive, and need a supply of people to feed off of. They tend to wear black, since it's the most powerful color for draining to Awaken things.