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Nick Cantrell

One thing I've always struggled with in writing is creating meaningful quotes or pieces of art in-universe. Poems, philosophers, etc. How do you go about doing this?

Brandon Sanderson

The best way is, for me, to steep myself a lot in somebody's style after the book is done. So I finish the book... I do this sometimes with other things, too. For instance, Taravangian's viewpoint where he's very smart in Oathbringer. I wanted this to feel very different. Another one I did it for in Oathbringer was the ardent who's reading the romance novel. And once I finish the book, I go read a ton of someone else's style, and I kind of try to do a Weird Al version. You know how Weird Al will do style parodies, where he's doing a song in the style of someone else? Or you might learn how to paint using some great master's style, and then try a different great master's style? I try to evoke that style in what I'm writing. For instance, with Taravangian, I used Faukner. Went and read a bunch of Faulkner. Very steeped myself in Faulkner, tried to get some of the big, meaty Faulkner-esque paragraphs and complex sentences and things like that. Just so that when you read Taravangian, even if you're not like "Oh, he's doing Faulkner," you'd be like "Something's odd. It's almost like Brandon had someone else write this chapter." That works really well for poetry, also, for songs in-world and things like that.

If that doesn't work, something else you can do is do what I did. My father-in-law is a musician who is a singer/songwriter. (Matt Bushman on Spotify.) He has since retired from that, but he's a very good songwriter. And I had him write a couple of my songs for Words of Radiance. I had him wright all the epigraphs of the song. I just hired him. And I had him write Shallan's lullaby for that book. And that worked out really well. 'Cause again, I wanted something that felt like I hadn't written it. So I had someone else write it.

So those are two different ways you can kind of shake up your style. (One by not actually doing anything in your style, but you know what I mean.)

Brandon Sanderson

Sarene's visit to the chapel is probably the strongest scene in the book dealing with the Korathi religion. I felt this scene was important for the sake of contrast. Hrathen, and therefore Shu-Dereth, gets quite a bit of screen time. Unfortunately, Sarene and Raoden just aren't as religious as Hrathen is. I consider them both to be believers–Sarene the more devout of the two. Religion, however, isn't as much a part of their lives as it is for Hrathen.

I've actually seen this kind of aggressive religion/passive religion dynamic before. (Referring to the dynamic between the peaceful Korathi believers and the aggressive Derethi believers.) In Korea, where I served as a full-time LDS missionary, Buddhism and Christianity are both fairly well represented. Buddhism is having problems, however, because it doesn't preach as aggressively as most Christian sects. It is not my intention to paint either religion in a poor light by adopting the aggressive religion as the antagonist in Elantris. However, even as a Christian, I was often troubled by the way that the peaceful Buddhists were treated by some Protestant missionaries. I was there to teach about Christ's gospel–I believe that Christ is our savior, and that people will gain happiness by following his teachings. However, I think you can teach about your own beliefs without being belligerent or hateful to people of other faiths.

The most memorable example came when I was walking in the subway. Often, Buddhist monks would set up little mats and sit chanting with their bowls out, offering prayers and chants for the people while trying–after the tenet of their religion–to gain offerings for their sustenance. Standing next to one particular monk, however, was a group of picketing Christians holding up signs that read "Buddhism is Hell." You could barely see or hear the monk for all the ruckus.

I guess this has gotten a little bit off from the source material. But, well, this is a book about one religion trying to dominate another. In the end, I don't think Hrathen's desires are evil (it's okay to want to share what you believe–it's even okay to think that you're right and others are wrong.) His methods, however, are a different story.

In other words, I think we should be able to preach Christianity (or whatever you happen to believe) without being complete jerks. (Sorry for that little tangent. I'll try to keep the rants to a minimum in the future.)

Questioner

Where in the publication sequence did you realize everything was going to be part of the cosmere?

Brandon Sanderson

Well, when I wrote Elantris I’d already written a draft of White Sand, so I set them in the same universe. And then when I wrote Dragonsteel I told the pre--so these were all unpublished. So by the time I was publishing it was all very well set.

Ezio della Torre

Was Teft's death part of your plan from the book's inception or series's inception, or did you decide his fate while writing Rhythm of War?

Brandon Sanderson

Teft's fate was decided pretty early on, but these sorts of things I do leave wiggle room on. When you read Teft's first appearance—it's in Mythwalker, my ninth book that never got finished—his appearance in that book was built around this kind of character arc that eventually happened. This was baked into the original idea for Stormlight once I brought over Bridge Four and once I stuck Teft inBridge Four, from Mythwalker. But I do remain pretty flexible on these things. That is one that turned out working really well, and happening the way I'd intended for it to happen from the beginning.

But... I mean, if you've read Way of Kings Prime, you'll know that there was a point in the outlining process, and even in writing that book, where Dalinar killed Elhokar, rather than him being killed by Moash. So, you can see that these things do change, these things bounce around, but yes, the Moash betrayal and the him killing Teft was an original <incarnation> of Way of Kings. So the original 2010 version of Way of Kings, it was part of that outline.

There are things that have changed though, over the years. A big one's, of course, a lot of Adolin's arc is not in that. I go back to that one because Adolin was involved, but he was a much smaller character than he ended up being. And Adolin changing has caused all kinds of ripples through everything in large measure. For instance, all of the stuff with Maya was not in the original outline. This is stuff that I developed over time because I was not planning Adolin to have as big a role in the series as he ended up having. That's a good example of things I've changed over time. A lot of the Cosmere-aware stuff, I didn't know how much I would push on that, and it turns out I've pushed further than in the outlines I originally thought I would. Because when I was starting this, I still didn't know if people would jump onboard with this as much as they have.

[...]

Reading Way of Kings Prime is a great way to see how things have changed since. The big changes you will see there between 2002 and 2010... I guess I wrote the book in 2009, so... in those seven years, you can see a lot of the transformations that the book and the world and the series went through. It's kind of nice. Those of you who've read it recently can probably remember more about what's changed than I do. I come back to the big ones, like that book had Unmade spiked with crystalline spikes, in the basement of the version of Urithiru before I changed it to what it is now, and that is just no longer in the books, right. Unmade getting spiked and being freed by spikes to the wall is not a thing. I'm sticking them in gemstones now, right, instead of spiking them to walls. I felt like the whole Hemalurgy thing we've covered well enough. But that was in the 2002 version.

*Adam goes on a diatribe about how he'd like to see fanart of this*

It was ten spikes too.

Brandon Sanderson

Meaning

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

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

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

History And Use

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

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

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

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

Naming and Usage in ELANTRIS

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

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

AonDor

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

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

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

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

Questioner (paraphrased)

Is Hoid the most knowledgeable about what's going on in the cosmere?

Brandon Sanderson (paraphrased)

No, Khriss is the most aware by a long shot. Nazh knows a lot as well. Hoid might know more than Nazh but he is pretty in the know as well so it's close.

Seonid

Would you tell me the intent of Bavadin's Shard?

Brandon Sanderson

Hmm…  Are we ready to release that?

Isaac Stewart

I don't know-- well we haven't-- We haven't written it into the scripts yet, but we've only done so many of the scripts so-- I don't know if that would be better place for us to reveal it or not...

Brandon Sanderson

If you're confident that you like what we're doing with it then we can release it now.

Isaac Stewart

Great. Well we had that big discussion and it sounded like that’s what we wanted to do.

Brandon Sanderson

Okay, we're going to have Isaac write it. He's in charge of White Sand now. And you can choose whether to share this with people or not because it's not on the recording.

Seonid

Oh it isn't?

Brandon Sanderson

No, I talked around it on purpose.

Isaac Stewart

*writes* Autonomy.

Questioner

I was just wondering, how Stormlight 2 is coming?

Brandon Sanderson

How is Stormlight 2 going? It's going pretty well. This whole being trapped in a hotel during the storm thing was not actually as conducive as you might think. Cause I sat down and I worked on it for a bit but being away from home, being, you know, annoyed that I'm trapped in a hotel and things like that I actually ended up writing a short story I owed somebody instead, just to kind of further clear the plate.

I owe Charlaine Harris a story. Charlaine's a friend and she's been a dear to me and she keeps trying to get me into one of her anthologies. And I'm like "Charlaine, this isn't really my thing," but she keeps asking so I finally said yes to one of them because the concept sounds fun, it was called Games Dead People Play. So I wrote her a story for her Games Dead People Play anthology. So we'll see about that.

It was actually four thousand words; you can be impressed now. I don't write things very short very often, if you can't tell. My short stories are as long as the book you're holding in your hand usually. So that's how that tends to go. So four thousand words is really short for me; it's only like 20 pages or something, it's tiny. Anyway, Stormlight 2 is coming along well. Hopefully next Christmas-time is when it should be coming out. I'm supposed to be turning in a new title this week and a cover concept by the end of the month, so that Michael Whelan can paint one. So we will see if I'm able to keep these deadlines.

Questioner

You mentioned networking. Which, I've always wondered, for things like this, is there any point in me trying to make a connection with you *inaudible* ten years?

Brandon Sanderson

It's very hard to make any kind of meaningful connection with the established authors. If you want to network, you can try, but I just don't have the time. People will ask me out to dinner on tour, and I've already got, like, five friends and family I've got to say no to. I can't even go to dinner with Jason. (Hi, Jason.) One of my long-term friends, because I'm just popping all the time on tour. At a convention, you can usually grab an author, if you're at a con, and be like, "Hey, can I ask you questions for a few minutes," and it's less about networking then, and more about getting information. People you should be networking with are your colleagues.

Here's an interesting story. So, I took a class in 2000 at BYU as an undergraduate. And it was taught by David Farland, who's a fantasy novelist. I'm like, "Oh, there's a real novelist teaching a class. I'm gonna take that." Some of my friends felt... people I didn't know, but other people like me, went and took this class. In this class, I met a man named Dan Wells. I met another man named Peter Ahlstrom. A woman named Kaylynn ZoBell. A group of our friends, the people who became my friends, I started a writing group with them. Well, I sold a book, went full-time. Dan sold a book and went full-time. Peter became an editor at TokyoPop and went full-time. And Kaylynn sold a book. She hasn't gone full-time because that panics her. But, of the people in that class, we are the only ones who went pro. And all of us did. Which should tell you something. And that is, having a community of people who support you as writers... I don't think we were the best writers in that group. I think we're the ones that supported each other, kept practicing, and we became the best writers. But that's that support group. And what happened is, Dan came up to me at a con, and said, "Hey, I found this guy, Moshe Feder. You should come talk to him." So Dan pulled me over and I talked to Moshe. I sold a book to Moshe. Years later, Dan had written a book I thought Moshe would like, and I called Moshe and said, "Hey, the guy who introduced us has a book. You should read it." And Moshe bought Dan's book. And you kind of help each other out, and things like that.

You should be networking with those people. And the other people are the editors and agents. They're at conventions and conferences to work with new writers. That's the purpose. They're always hunting for new talent there. An editor and agent, because they love science fiction and fantasy, and are looking for people to bring out to the world. Every editor wants to be Hugo Gernsback, who discovers these new writers, and things like that. So those are the people to network with.

Brandon Sanderson

Chapter Thirty-One

This is another of my favorite chapters. (How many of those am I allowed to have, by the way?)

Anyway, it was about time for someone to say the things that Vin did in this chapter. Kelsier and his group really ARE a bit disconnected from regular skaa. In a way, they're like Elend and his little band of philosophers–they feel bad for those beneath them, and talk about helping, but it's really hard for them to really understand the skaa.

I love Vin's entrance. Perhaps I have a flare for melodrama, but I think it worked very well here to have her burst in, bloodied, carrying her dress. (Which, of course, she went back and fetched so that it wouldn't give her away.)

I did change the last line of this scene. Up until the copy edit, the last line from Kelsier's viewpoint (before we switch to Vin atop the roof) was him thinking "Well, she certainly has changed!"

This seemed like too much of a quip, and it undermined the tension and emotions of the last chapter. Sometimes, a good one-liner is good to release tension. However, in this case, I found that it really did feel out of place. This just wasn't the time for some half-snarky comment from Kelsier.

Brandon Sanderson

Rescuing Taravangian's granddaughter

So, Taravangian set this entire thing up. He wanted to see Jasnah's Soulcaster in action. He had the resources to get through that rock, if he'd wanted to—but he wanted to see Jasnah work, and he wanted to have an opportunity to interact with her. His eyes have been on her for a while.

nIBLIB

Did the Lord Ruler move the mountains North, or the Well of Ascension south? I couldn't figure it out and it bugged me

Brandon Sanderson

Technically, it's a little of both. What the Lord Ruler did was tilt the planet's crust until the Well was where he wanted it, then put the mountains in place as misdirection.

Questioner

When you finished writing A Memory of Light you posted on Facebook a beautiful piece of music *inaudible* and I was wondering, do you listen to music often when you write, and how does music influence--

Brandon Sanderson

I do listen to music. I almost always am listening to music when I write, and I really like things like Pandora or the discover weekly playlist on Spotify, or things like this. Any time I can get something seeded with some unusual different disparate elements and discover some new music, that'll be good for me. A lot of soundtracks, Pink Floyd, a lot of Pink Floyd, <Tangerine Dream?>, stuff like electronica, like that works really well for me. What else, Daft Punk would be in that group as well. So, it's a mix between piano music, electronica and soundtracks, what you're going to see me writing to most of the time.

Tahona1125

Is there any chance White Sand the novel ever gets revised and published? I'm not sure if there is a place for both the novel and graphic novel, but I really enjoyed the read.

Peter Ahlstrom

Well, Brandon said it's not outside the realm of possibility, but I hope he doesn't. The first draft of White Sand is already nearly 20 years old at this point. Nowadays, Brandon has better ideas. He has plenty of things to write that he's excited about. He has already written White Sand twice, and I think it would be hard for him to get excited about it, and his excitement translates into a good book.

Assuming the three volumes sell well enough to warrant continuing the story, then Brandon could get excited about outlining the sequel to get adapted into more volumes.

And, since it's the Cosmere, you can be assured that sand masters will show up when all the planets start interacting with each other.

Mi'chelle Walker

Is the city that the Parshendi are in Urithiru?

Brandon Sanderson

In The Way of Kings, Jasnah tells Shallan that Urithiru is not on the Shattered Plains. So either Jasnah is incorrect or that is not Urithiru.

Mi'chelle Walker

In other words, you’re not going to tell me?

Brandon Sanderson

I’m just clarifying for you so that you have all the information you need in order to make judgments and ask questions.

Brandon Sanderson

Vin and Zane Watch Outside the Tent

Zane's cutting has an interesting evolution in the story. At first, I added him cutting himself simply because–well–it made a cool scene. Zane, cutting his own arm in front of his father, primarily to make the other man uncomfortable.

However, there's more behind this, and the cutting worked very well into the interaction of the different magic systems in the book. Particularly Hemalurgy. The pain makes the voice in Zane's head weaker. There will be more on this later.

I'll admit that I didn't originally intend to make the Zane-Kelsier connection with those scars on his arms. However, when writing this scene, I couldn't believe I'd missed seeing what a great opportunity I had. Vin already associates Zane with the Survivor; letting her see the scars on his arms gives her another powerful connection, particularly since she misinterprets where they came from.

Questioner

Could you build Aons or something similar to Aons off of the natural landforms on Roshar, like the Dawncities and the other cities that are sort of symmetrical?

Brandon Sanderson

The Elantrian magic system, the Selish magic systems, are the ones that don't work very well-- don't interact very well with other worlds... Other ones are a lot more easy to interact between worlds.

Brandon Sanderson

Last time I asked you what you guys were most interested in regarding art books for the Stormlight Archive. And 66% of you prefer the guidebook style. You can look last week if you want to know. This is what I thought you would say. It’s the one that I thought would be most interesting, an in-world guidebook that features a lot of art but also is kind of like a coffee table book you can put out that you can give to a friend who hasn’t read the Stormlight Archive and they’re like, “What’s it about?” Well, here is some cool artwork with some in-world descriptions.

I kicked around some ideas with Isaac on this. We’ll probably start working on this. Again, this is probably not for four years or so. But we will start working on this. It looks like you guys are excited. We did get 20,000 responses from you, so that’s really good. And the overwhelming majority of you, 76% of you, said that we would buy all three if we put them together. And I chatted with Isaac, and right now we’re going to take the first two on this list, because we think that we can make the coffee table art book and the guidebook kind of combined into one. But what we can’t really combine in that is the encyclopedia-style book, which we’d actually want to be alphabetized, and things like that.

And so what we’re going to do is we are going to start kind of working on these two things together but as separate books that we would sell together and sell separately. But probably do a Kickstarter for the two of them together, and then later on you can just buy them individually. So like, a larger art book/guidebook as one, and then an encyclopedia-style sort of companion book, and things like that. I really think these will work well matching the first five books, because we will probably have to do separate ones after book 10 that would cover that era of Stormlight, the 6 through 10.

Questioner

I'm a huge fan of the Writing Excuses podcast.

Brandon Sanderson

Well thank you.

Questioner

I always say it's like a master class in genre writing, so I thought you should—for aspiring writers who are in the room—that you should take a few minutes and tell them about the podcast in case they don't know about it.

Brandon Sanderson

Okay. So, what happened is, my brother was taking this class in college. My brother's one of these people who take like ten years to get an associate's degree or whatever it is. *laughter* You know, he's got a good job in IT. It's like, he doesn't need the degree, but he feels like he should have one, so he's like taking a class here, and taking a class there. I see people nodding; you either have done this or have loved ones who have done this, but anyway--

Bystander

Like doing this ourselves--

Brandon Sanderson

Yeah, or doing this yourself. *laughter* So, he's taking this podcasting class for whatever reason. He's like, "Hey, you should do one of these, Brandon." "What? I'm not into podcasting; I'm not a radio personality." He's like, "No, no; you should do this." And he had this great idea—we wanted to do like this web serial that's adventures, like an old classic radio drama, and all of this... writing-intensive stuff, which is why he came to me. And I passed on it; I said, "No, I'm not gonna do that; it sounds fun but I just have too many things on my plate; there's no way I can write all of this for you."

But the idea for a podcast stuck in my brain, and I started listening to some podcasts—I really enjoyed a lot of them I listened to, but it seemed like there was this habitual problem in podcasting where it would be, friends sit around a table and chat, and then, you know, you turn on the podcast and it says one hour and thirty minutes, and you're like, "Ninety minutes, guys? Come on! Is there no editing going on? Can't you stick to a point?" Like, a lot of them are like, you know, the three-hour-long podcast where we're going to, I dunno, drive to Texas and talk about it. And they'll have this topic on, it will be like, "We're gonna discuss the new Batman movie," and I'm like, "Oh good, I want to hear what fellow geeks think about it." And then you see that it's a two-hour-long podcast, and you know they're gonna talk about Batman for like fifteen minutes of that, and then the rest is gonna be like what they had for dinner. *laughter* Because you know, you've been to lots of cons; you've been to lots of panels. You know how it goes; we get off topic. And every discussion of Star Trek turns into an argument of who's the best captain or whatever, and it's the same sort of thing over again.

So anyway, I was thinking about this, and thought, I really would like to do a writing advice podcast. So many people email me wanting advice; so many people would like to try to take my class but can't. Often my class has fifteen seats and I have seventy-five people showing up wanting to add, and we pack as many into the room as we can, but I wanted to do something that would let me give some of this writing advice. So I figured I wanted to do a podcast that was short and sweet. I wanted to organize it more like a little news program where you have one moderator throwing questions at people, and making sure that it stayed on topic, and did it in just a short period of time—I thought fifteen minutes was the right amount of time; just a quick, on-topic podcast—but I can get kind of dry. I've got this university background, right? I just kind of blab—you've been watching me; I do this—and so I'm like, it'll be better if I bring on people who are funny so that people can laugh—that are glib and all this other stuff—and so I went and got the two funniest people I know, which are Howard Tayler and Dan Wells—a horror writer and a comic book illustrator and writer—and I figured that would also give some diversity to the podcast.

And so we started doing this podcast, and it really took off—it was very popular—and so we eventually added a fourth member because we realized that we were not as diverse a cast as we could be, considering we were all three white dudes from the same town. *laughter* So, we called up Mary [Robinette Kowal], who has a very different perspective on life than us, and had been the best guest on the podcast that we'd ever had, and we figured at that point, the podcast now had a sponsor—Audible—so we could afford to fly Mary out, because we do it in person. We can't—this whole Skype thing, you just don't have the same chemistry. And so we started flying Mary out, and so for now, two seasons we've been doing with Mary, so it's the four of us doing writing advice, that we just tackle a topic every week and go at it, and we've had a lot of fun with it. We recorded a bunch of episodes before Dan moved to Germany for a little while, and we did cool things like, for instance, we each brainstormed a story—one episode was for each of us—and then we're all writing these stories which we will then post the rough drafts, and then we will workshop them on an episode, and see the evolution of the story, and then we'll do revisions. I actually, when I worked on my story, I grabbed one of the screen capture technologies—what's it called?—Camtasia, and I recorded myself typing the whole thing. It's like, wow, this is me at the computer going for six hours; maybe we can speed it up or something. But I had screen captures of me just typing the whole story, and then I will do screen captures of the revision process, and then post those so that people can watch a story being built, and watch it evolve, and watch all this sort of stuff. So, it's pretty cool, the podcast, so if you're interested in writing and reading, or if you just want to hear us sometimes be funny, feel free to listen; it's Writing Excuses.

carmen22

 How did you ever keep the unique power systems all straight and use them so well for your readers to understand?

The powers, to me, were just so fascinating, well developed, and unique on so many levels! I think with a lesser artist than yourself the powers might have been too much to take in, but I found them quite easy to follow and understand. Just amazing! You seriously are one of my favorite authors. I'll be in line for all of your books!

Brandon Sanderson

Thanks! It took a lot of practice. Keeping them straight for myself isn't so difficult—it's like keeping characters straight. The more I've written, the easier it's become.

What is more difficult is keeping it all straight for the readers. This can be tough. One of the challenges with fantasy is what we call the Learning Curve. It can be very daunting to pick up a book and find not only new characters, but an entirely new world, new physics, and a lot of new words and names.

I generally try to introduce this all at a gentle curve. In some books, like Warbreaker, starting with the magic system worked. But in Mistborn, I felt that it was complex enough—and the setting complex enough—that I needed to ease into the magic, and so I did it bit by bit, with Vin.

In all things, practice makes perfect. I have a whole pile of unpublished novels where I didn't do nearly as good a job of this. Even still, I think I have much to learn. In the end of Mistborn One and Warbreaker both I think I leave a little too much confusion about the capabilities of the magic.

Brotherwise Games

The Mistborn Deckbuilding Game (and it's possible that will be the final name; the Star Wars deckbuilding game is just called "The Star Wars Deckbuilding Game," so we might end up doing the same), that's a really exciting project, as well.

The game is essentially themed around being a mistborn in training and contending with rival mistborn, and really getting straight into Mistborn duels and battles, while still having some of the intrigue that's a big part of Mistborn books and a big part of the non-physical metals.

Cosmere.es

I think the image you shared was Vin. Is it like you are going to be playing the characters themselves? Or are you going to be playing other mistborns, or...?

Brotherwise Games

The setup is that you are playing one of the named characters. So you're playing as Vin or Kelsier. Or Shan Elarial, an Inquisitor, or Zane is another playable character.

Cosmere.es

Can you be a kandra?

Brotherwise Games

There is a kandra card, but that would be kind of an ally. Same with a lot of the mistings, and things like that. Within the boundaries of a deckbuilding game like this, everybody's gotta have a similar level of capability. I can see us doing a feruchemy expansion in the future, but right now a keeper is just one card.

Everybody's a mistborn, everybody's got access to the eight core metals, and then over the course of the game you can gain access to atium, which has really big effects, often game-winning effects.

Cosmere.es

So we are in Era One, the first books, maybe the first? The Final Empire?

Brotherwise Games

Yeah. The first couple of books, I'd say, is the general time frame here.

If this game does really well, we could always expand into future eras. There's other ways we could adapt the system to handle Era Two stuff or later Era One stuff, but we're starting with what we think are some of the most iconic and recognizable aspects of... being a mistborn, jumping around rooftops, throwing coins at each other, getting into fights, going to balls, convincing people to do things. All those classic aspects that you think of in Mistborn.

Questioner

What's the deal with silver? Why does it not fit cleanly into the Allomantic metals, why is aluminum a special one and not silver. Why is it silver powder and not aluminum powder on Threnody? These kinds of questions.

Brandon Sanderson

Do you want the in-world answer... or the writerly answer?

Questioner

Well really I want the in-world answer.

Brandon Sanderson

...The in-world answer is that people are not sure yet.

Questioner

Well, that's not the in-world answer. That's the in world answer from Khriss, right? What about the in-world answer from--

Brandon Sanderson

That's the in-world answer--they're not sure yet...

The writerly answer is that we started with silver in place of tin. And by the time I swapped it out, aluminum was already its thing. If I had to do it over again, I might make silver aluminum, but I wanted what aluminum does to be rare, and silver isn't. So I might not have. I love what aluminum does because it's super-rare pre-industrial, but you hit industrial and it's everywhere.

So it allowed me to do, when we get to modern era, to have real checks on Allomancy as Allomancy gets more powerful.

Questioner

Is Jasnah being able to Soulcast at a distance the resonance of her two Surges or is that just a Radiant thing that's not with the fabrials. 

Brandon Sanderson

Jasnah's Order is better at that than others. It is not impossible that you could imagine a Lightweaver being able to do it.

Questioner

I get it that sometimes writers have organic process when they're writing sometime, they start on one thing and end on something else. Is there a particular character, situation where you started that as you were writing it, it kind of evolved on its own, and really kind of surprised you. If you don't mind, could you tell us about it?

Brandon Sanderson

So… there are always things when you're writing that evolve beyond what you expect them to be, and it happens even to the most strict of outliners. And I do, even as I usually call myself an outliner, say that you shouldn't be too strict on outlining. Just because the more--

What happens with the writers, the more you steep yourself in your story, the more your subconscious will start to make connections and the more your skill as a writer will start to-- Um-- Start to take over? It's hard to explain in a lot of ways, but it's similar in-- Honestly, like hitting a baseball, right? Where you, when you're practicing, you can be very conscious about it. "Alright, here's how my stance should be, here's what I'm doing wrong, let's work on that consciously". But in the moment when you're, like, swinging at the ball in the game, most of that's out of your head and you're just letting instinct go. The planning is all of that sort of stuff beforehand that you do, like a baseball player, and then the writing often involves a lot more of the "just swinging", and then the revision goes back to a lot more conscious, if that makes sense as an explanation. And so as you're going, a lot of times the instincts start going somewhere, and you'll get this chapter and say "Ehhh, something's wrong with this", or "Oh, this is a better path, let's go look at my outline and see what needs to be rebuilt."

Um, some examples of this, if I can give them… uh, well, I mean, I write the Alcatraz books completely just as free-written books, but in books you've read, for instance, Spook's story in Hero of Ages was not in the original outline. Um, you know, what happened to him and things like that in Well of Ascension was, and then I was like, um, I want to take this character further and I feel like I need more to this story, I'm missing something and Spook's story is where I started taking that. So that was a more natural, uh, sort of outgrowth of the storytelling. But that happens in every book, there are certain things that'll-- that go off target a little bit and turn out to be better. Yeah, there's a target that you're at that your subconscious is shooting for that your conscious doesn't know about yet. Yeah, it happens every book.

Brandon Sanderson

Don't Try This at Home

As for the Resolution—the kandra mass suicide—well, don't try this at home, kids. This is one of the more discomforting parts of the book, and I don't want to advocate religious extremism in this way. Remember, this is a fantasy book—just like you shouldn't try jumping off your house and using a coin to Push off of, you shouldn't participate in mass-suicide death cults. The kandra had special circumstances, as they were in the process of being taken over by a dark god when they killed themselves.

The thing you can try is what Sazed did, actively using his religion and calling upon a higher power to bring him help. This is one of the core tenets of many religions—that we, as humans, cannot do all things on our own and need the help of others. I'm not exactly sure (again) what I'm trying to say by having Vin be the one who answers and saves Sazed. But, well, in this theology she's now his god, so I guess it all makes sense. Strangely.

Kim Jenson

Does Hoid have any rules, self-imposed or otherwise, about how much he can interfere with what is going on on whatever planet he is currently on? And why does he take such an active part on Roshar, compared to the other planets he has visited?

Brandon Sanderson

Hoid has a few rules of thumb, but he does not have the same rules that the Shards have to follow, which is basically one of the big points that makes Hoid do what he does. He has to watch out, because drawing their attention at the wrong time can be very dangerous. But that's not necessarily a rule, it's more of a "be careful." He's defined by the fact that he doesn't have to follow the rules. And he's also defined by the fact that he intervenes when a lot of others think that one should not intervene, as made evident by the chastisement he receives from Frost. So, I would say, no and yes. There are some weird limitations on him related to things in his past that you will find out about eventually, but those are not really about intervening.

Why Roshar more than others? There are a couple of reasons for this. One is: the way he is intervening on Roshar is something that is directly involving the main characters of the book I'm writing. He actually has done a lot on other planets as well, you just haven't seen it because he hasn't been as involved with the main characters. Why is he involved with the main characters? Well, he is trying to get to be a Knight Radiant, and he wants to be involved with the people who are becoming Knights Radiant, because he wants to figure out how that magic works and specifically how you can get off-world with it, which is the real trick on Roshar. So he, in this specific instance, is really involved with those characters because of that reason. A lot of the other places he will go, the magic is already extant, and it's not like Roshar, where the magic has not been around for a while. So he is kind of by necessity more involved in the plot.

Questioner

Basically Bridge Four, the starting sequence was one of the most intense things I have ever read in my life. I was in tears, I couldn't stop it, to the point I kept flipping through to the next Bridge Four part. I was just wondering where you got the inspiration to go so dark with Kaladin and what he went through.

Brandon Sanderson

That's an excellent question. Bridge Four in the original Dragonsteel was a happy accident, back then I wasn't as good at outlining as I am now. I kind of got to this place and went "Huh, I want to do something interesting here" and I kind of discovery wrote myself into it. It didn't work nearly as well as it did in Way of Kings, but that's because I was still figuring it out. I think the original inspiration was-- Something that I like to do with Fantasy is take the geography and see how the unique geography of the area influences the culture of the people who are living there, in this case the warfare, a subset of the culture interaction. This happens with the weather on Roshar as well. I think this is something Fantasy allows us to do, to explore what is fantastical, yet keep it very grounded in the human experience because I find books interesting when I'm interested in the characters. Having this cool place, the Shattered Plains, is not nearly as awesome as having this cool place and "oh no the people I like are dying here". This idea was one of the ideas, I think the inspiration was medieval siege warfare and just how awful that sounds to me. Having to be one of these people running a ladder to climb up the wall. Just "Okay, here's your ladder, good luck". This idea of just having to run into the face of something terrible, to know you are probably going to lose your own life or your friends are going to lose theirs was just so awful to consider. And when that happens, as a writer you are like "Oh I got something. That sounds awful, I'm going to write about it" That's just what we do. Anything that inspires powerful and profound emotion in myself is something I look to use in my books because I figure if it inspires profound emotion in myself it will work on the page to do the same thing with my characters.

Questioner

You said that this story was a long time in the making, that you struggled with. Compared to writing a novel, how does this sense of accomplishment differ between finally getting a working outline, compared to seeing the final work?

Brandon Sanderson

One thing is, getting the outline and making it work for Dark One was kind of the big breakthrough for me. When that worked, that’s where I got really excited. I’m like, “This will actually work.” I could have written this as a novel. Like I said, the pacing didn’t feel right for that, but I knew I had cracked the story.

When I started getting the artwork back that Vault did on this, and seeing just how close to my vision it was, I got very excited. It’s really cool when the best collaborations happen. This has happened to me once in Hollywood, and now it’s happened with the graphic novel. When you turn something in, and what you get back feels better than what you turned in. It feels like they got it and understood your vision and then improved it. Like, there’s a ton of dialogue in this that wasn’t in the outline that just works really well. And I was really happy to see it. This came together really well.

So, there is quite the sense of accomplishment. It’s more along the lines of “It actually worked!” Sometimes, you get a little discouraged with collaboration, because you get back a screenplay (and this has happened to me a couple of times) where it’s obvious that the screenwriter had no interest in the original property, and wasn’t inspired by it. They just went their own direction. And that’s rough. And sometimes, despite their best efforts, you get back a screenplay which is taking the novel, and it doesn’t go the wrong way, it doesn’t change anything; but it just doesn’t adapt it, so it’s just scene-by-scene the book, and the screenplay is boring because of that. That’s also discouraging. One is discouraging because you’re like, “Wow, you didn’t even care.” And the other is kind of discouraging because you get it back and you’re like, “I could have done this as poorly as you did.” I understand it’s a tough nut to crack, an epic fantasy novel as a screenplay. But we need to do something that actually makes it into a movie. And both of those are a different kind of discouragement. And getting something back like this that’s just like, “Wow, they did it. They took it, they ran with it, they made it both their own by adding to it, but also kept the soul of what I had wanted to make. That’s really satisfying.

Brandon Sanderson

Chapter Sixteen

Wayne pretends to be an old woman

These Wayne scenes really did turn out well. It was very fun to write him putting on new personalities and mindsets as he put on new hats.

In a lot of ways, this is a much more standard book than I've released before. My biggest worry is that people go into it expecting it to be something other than what it is.

And what is it? A fun adventure story, told as a detective narrative. I've said that I consider this book more pulp than others I've done. What does that mean? Well, I just wanted to write a fun page-turner that is a quick read from start to finish, and is enjoyable along the way. It makes me wonder if people will call this unambitious. Perhaps that's just the nervous side of me, the artist that worries about what people will say about him, no matter what.

Still, I think it's a legitimate complaint—on the surface. I don't expect readers to understand what's going on in the writer's mind. It's not their job. I've delivered one type of writing in the past, so they expect I will continue to do so.

The thing is, there are lots of different forms of storytelling, and I want to learn how to do many of them. A pulp adventure story doesn't seem less ambitious to me than a deep epic like The Way of Kings. It's not about ambition. Yes, The Alloy of Law is far less deep than Kings—but then Alloy is trying to do different things. Sometimes, an artist wants to paint a deep, realistic painting on a canvas. And sometimes he wants to do a political cartoon sketch. They achieve different functions, but they're both forms of art. I want to be able to do both.

In a way, The Alloy of Law is a reaction to what I'd been doing before. I realize not everyone is going to like the more plodding pace of something like Kings, with lots of characters doing lots of different things. I suspect people will complain that working on The Wheel of Time has influenced me. (I don't think that's a bad thing, but some will.)

Certainly I have been influenced. At least in one style of my writing. However, The Alloy of Law is—in part—for those who liked the pacing and action of Mistborn and were less interested in the epic scope.

I simply hope people read the book, accept it for what it is, and enjoy it.

Questioner

Is the sequel to The Rithmatist still in the works?

Brandon Sanderson

Yes... It's still in the work. The Rithmatist is this strange doc in my writing in that it's the last book I wrote before The Wheel of Time hit me like a freight train. All future plans got trampled and balefired, right? And things I'd been planning to do, I no longer knew what was going to happen. So  Rithmatist I didn't release right then. I let it sit for a while. Eventually the publisher is like, "we really should release this, it's a good book." And I think it is a really strong book.

So a couple of years back, I sat down and tried to write the sequel. And it's another one of these books that didn't work. There are a variety of reasons it didn't work. But it didn't work. I got maybe four or five chapters in and I shelved it and wrote an Alcatraz book instead--it's another series I've had looming over me. Now that I've learned to do novellas and things like this, you find me making open-ended series less often. Like with Skyward, it's going to be a trilogy and I'm going to write two of them this year--maybe all three if I can--and then it's done and turned in. And with the novellas, there's not necessarily sequels that I'm planning. So I'm getting better at managing that, but I've gotten these kind of "open" series. I really want to write The Rithmatist 2. I think it's very deserving of a sequel. I think it's a good book. I don't know how to do it yet, which is rare for me, but I don't.

So, maybe this thing will work with Dan, and I'll go, well maybe there's someone who can help me fix this, one of my friends. Maybe I will just carve out the time to do this, let's do it. But right now, it is one of those things I don't just have a date for, and I feel bad about that. The good news is I'm doing this less and less. I'm figuring out how to make this happen. Legion is now done and turned in. Alcatraz is very close. I finished half of Alcatraz 6. Well, Bastille 1, but there's only one Bastille. If you guys don't know, the first five Alcatraz books are written by a guy named Alcatraz and then he leaves the ending in a terrible cliffhanger at the fifth book, and says, "I'm done!" But the joke has always been his friend Bastille thinks that's stupid, so she's going to write the ending he refuses to write. So I wrote half of her book and it looked good. I'm pleased with where Bastille Vs. The Evil Librarians is going. So that'll be wrapped up before too long, and then that series is done. So Legion and Alcatraz are very close to being done. That leaves The Rithmatist. And so it would be next on my, "let's figure out how to get this done."

That's a long answer that just basically says, "it's coming but I don't know when."

Questioner

Has anyone approached you about making a movie?

Brandon Sanderson

A few people are laughing because we did sell rights to the entire cosmere this summer.

*cheers*

Some people are like terrified by that news. So what happened is there is a company that optioned the Emperor's Soul, just itself. They really liked it. They're like, "We're gonna do Emperor's Soul." They're a Chinese company, DMG. Iron Man 3 was one of their things that they helped produce and stuff like that. So they've done some cool stuff. And I'm like, "Sure, I'll sell Emperor's Soul." And then they read Emperor's Soul and they're like, "Huh, this is connected to Elantris," so they read Elantris. And then they started reading and then they dove into the cosmere. And I still remember when I called one of the people from DMG to see how things are going and he was  just like, "I just started reading the cosmere and I just spent 20 hours on the fan websites and things." And so they came back to me a few months later and said, "Has anyone optioned the cosmere?" And I'm like well, "Mistborn is under rights to someone but the rest of the rights are available." So they started negotiations to buy the entire cosmere. Then when Mistborn lapsed from the people who had that, they bought that too, to fold them all in, and then they made the announcement, "we have the cosmere".

People were very confused when they saw, the "we have the cosmere," because they were working on The Way of Kings and Emperors Soul but they didn't have Mistborn, which is the one that makes the most sense to do. They immediately put that into production but they're further along on Way of Kings and Emperor's Soul.

I sold to them because they seemed to get it. Anything in Hollywood is a gamble, I can't promise this will even happen, but they get it. They understand the cosmere, they're behind this, they want to do these films the right way. So I am very excited and eager and I will keep you guys up to date as we know more.

Though as a side note, every time something really cool happens to me, Pat Rothfuss, who is a good friend, kicks down the door, saunters in, and says, "Hey Sanderson, guess what? Lin-Manuel Miranda, who wrote Hamilton, is writing The Name of the Wind. How's that sound?" So, I'm like, "Oh Pat, oh every time..." If you haven't heard that, Lin-Manuel Miranda, the Hamilton guy, is attached to Name of the Wind. So that looks like it's going very well also. I'm actually very eager. I think it's a really good match. It's just funny to me, I make my announcement then and Pat's like, "Oh by the way, better announcement!"

Xyrd (paraphrased)

Was Leras bonded to a being in the Cognitive Realm?

Brandon Sanderson (paraphrased)

You mean like a Nahel bond?

Xyrd (paraphrased)

Yes, or a similar mechanism.

Brandon Sanderson (paraphrased)

Well, you have to remember that Shards interact with the realms in a different way, so...

Xyrd (paraphrased)

Well, I more mean before Leras became a Vessel.

Brandon Sanderson (paraphrased)

Anything before then is RAFO.

Patrick

On several fantasy forums, there have been discussions of "black and white" characters and your name sometimes is mentioned as being one who creates "black and white," good/evil characters. What I'm curious about, however, is how do you think of your characters' traits when you develop them. Are there characters that you think, "well, this 'evil' character has this motivation' for acting like a jerk," or is there something else behind these character creations?

Brandon Sanderson

I would certainly say I do black and white more than someone like George R. R. Martin does. I would hope that I'm not doing directly black and white, but...this is a hard question for me to answer because I'm not sure that I look at it this way. I don't look at characters as evil or good; I just look at them as who they are and what their motivations are. I personally don't feel that I generally write all-evil characters, though if I look at it rationally from an armchair English major standpoint, I do tend to write very noble characters. Nobility is something that fascinates me, and something that I think we could use a little more of in our world. So I'm straying fairly often into the good, though I don't see any of my characters as entirely evil. Hrathen was not evil; the Lord Ruler was not wholly evil. I don't even look at Ruin as particularly evil; Ruin was a force of entropy, which is its own different thing. In this book, I would say there is a presence of evil that is on a higher level. Is Szeth evil? Well, I don't know. Is the person pulling Szeth's strings evil? Yes, by most definitions I think he would be called evil, but he certainly doesn't see himself that way. I could point at him and say, "You are doing the wrong thing," but he would not agree with me. I'm not trying to moralistically say here is black and here is white; I'm just telling stories about the characters I want to tell stories about.

Questioner

The Mistborn movie and game: how involved are you in the game, or are you getting to points in each of those that you’ll be able to contribute, or are they just gonna have you take a step back?

Brandon Sanderson

Good question, good question. So far, I have been very involved in both. Now, movies being what movies are, if we sell the movie to a studio, who knows at that point what’ll happen. All bets are off, right. The people I sold it to were big fans—like actually big fans, not the type of big fans in Hollywood that have heard of your name, so they’re a big fan. Like actual, serious legitimate Big Fans. They did six drafts of the screenplay—they were serious about this—and the screenplay is awesome. I have read it, I really like it. It does tweak a few things that make the screenplay really cool: like it focuses more on Vin and Reen, and kind of leads with that relationship a little bit more, stuff like that that works very well cinematically. It’s very faithful to the book and it’s an awesome time.

Who knows what’ll happen: we really want to be able to sell this to a studio. What happened was I sold it to independent producers, and what normally you’re gonna’-- they’re gonna’ have to find funding; that’s what happens with producers unless they’re, you know, George Lucas or something like that. So we’re still shopping it, the screenplay is awesome, so anyone, if you’re uncle is, ya’ know, happens to be Joss Whedon, come talk to me. I’ll find a notebook for you, I promise [reference to Taiwanese Way of Kings notebooks which Brandon brought to Comic-Con].

As for the video game, the video game guys—I’m actually having dinner with them tomorrow night. They’re cool, you know, they’re-- a bunch of guys from Interplay are involved in this, and the games they’ve made so far with their new company are all kind of like, how should we say, “safe money makers,” okay, and the reason they came to me is that they’d built their company, it’s solid, they’ve got the safe money makers—they’re doing like DDR games and things like that—and they said to me “we want to go and make a big-- just cool fantasy story because we’re kind of getting bored of all this stuff”—not that it’s bad, they’re great games, but you know what I mean. And I’m writing the script for it. The dialogue of the game will be mine.

They actually asked what type of game I wanted to make. I told them some games that I thought would work really well, and they have built an engine and everything to do that, and it’s looking really good. For those who are curious, it’s going to be cross-platform, should be fall 2013. It’s going to be an action RPG and kind of—I mean it probably won’t be as open world as this—but Infamous is one of the examples I gave them as something I thought that would really match Mistborn. I don’t think we have the budget to do the just huge open-endedness of something like that, but that’s okay because I can write a really solid story, and it should have gameplay that’s going to be really fun. Demon’s Souls was another one I gave them, kind of on the other side of how a combat system I really like works.

So that’s the story of the game, we’re shooting for RPGish, a little big like Demon’s Souls but more of the kind of freeform gameplay of Infamous.

Questioner

Is the game going to be a standalone and the movie a trilogy?

Brandon Sanderson

The game is going to be a standalone: they’re may be sequels, but right now we’re going to just get one out there, it is set about 250 years after the start of the Final Empire, stars a new character, one who is part of the history of the world, so…

Questioner

What would you say are one or two aspects in the fantasy genre that are not well-appreciated by the masses?

Brandon Sanderson

I've already mentioned it, but I think that truly great humorous fantasy is not appreciated for the difficulty that writing good humorous fantasy that also has good plot and worldbuilding... I'm speaking of Sir Terry again. Writing really good comedic fantasy is as hard as writing regular fantasy, plus more difficult for that extra layer. So I don't think that's appreciated.

But in a general term, anything we do that's not about our prose is generally not appreciated. Because we have a tradition that has grown up, and it's actually fairly recent (because novels are fairly recent) in the last hundred years or so, that elevates one type of storytelling above all others. That type of storytelling is still pretty cool, right? I can read something that got a Nobel Prize and be like, "Wow, this is pretty awesome. I love what they're doing with this." But it's basically like awards only ever being given to one flavor of ice cream. So, if you have the Best Ice Cream of the Year Award, but Rocky Road and its various incarnations always win, and a fruit sorbet never wins. And that's kind of how it feels, that a lot of the book awards go, where it's only one type of art that's seen as valid. Whereas when I look at something that's really intricately plotted that I'm amazed by, and no one cares in the awards committee, that kind of bothers me. 'Cause I'm like, "Don't you see that there's lots of different types of art that create great stories?" And I would love to see more awards given to someone who is able to create a really cool world and integrate it really well, because I think that's as hard as writing pretty prose.

Granted, you get some people who can do it all, and they make me angry. Pat Rothfuss. But, you know.

Questioner

This is purely hypothetical, but if Dalinar was to become the Vessel for multiple Shards, would he have had more difficulty with Preservation separately if Harmony was involved? Because that's the only of the Shards I can't see him holding onto particularly well.

Brandon Sanderson

Hmm. I can say yes on that. I think that's a good theory... you phrased [that] very well.

Brandon Sanderson

And they're kind of just for me. Because they're the paintings of the Heralds, which are characters that I know and have been telling stories in my head about for twenty years. But you don't know 'em very well. (You know Nale a little bit.) But most of the Heralds, you're like, "Who are these people? Why do you have these awesome pictures of people that aren't in the books?" Well, that's because they will be in the books, and they are the people that I wanted paintings of. Selfish.

Brandon Sanderson

Part One: The Kickstarter

A large part of this year was, as I’ve already mentioned, been dominated by fulfilling on our Kickstarter campaign. Now that it’s done, we’re all taking a deep breath and letting things wind down a little. So what’s next?

Well, if you didn’t see my video concluding the Year of Sanderson, I think it is time to slow down. That’s an idea contrary to the way business normally works—every corporation is always focused on growing bigger and keeping customers spending money. That’s never been the way I see things though.

I still remember sitting down with another author soon after I was given the opportunity to complete the Wheel of Time, and this person (a good writer, and wise in the ways of business) said to me, “Now, make sure you go back to them immediately and pitch another follow-up series in the Wheel of Time world so your future is secure. If I were you, I’d want to have a dozen books under contract, so you can keep writing these for the next twenty years.”

That might have been the smart business decision, but I rejected it immediately—because that wasn’t what the Wheel of Time needed. And when others came to me and asked if I wanted to do a follow-up trilogy, I told them what I’ve always said: Robert Jordan didn’t want it done, so I don’t think I can do it in good conscience. More isn’t always better.

In this case, we’ve had five(!) new releases in one year. I don’t want or intend this to become the norm. I might try something like it again someday, but in the meantime we’re going to slow back down. Next year, we’ll likely only have the one book release: Stormlight 5. In addition, we are not going to try to continue the subscription box. We put all our best ideas into this year’s boxes, and we’re extremely pleased with the quality of what we created. It’s time to be done.

That said, we do have two crowdfunding campaigns coming this year. Nothing quite as ambitious as the Year of Sanderson, but both (I hope) worth your time. First will be the Words of Radiance leatherbound campaign, happening on BackerKit this time instead of Kickstarter. That is in March. We will follow that with Brotherwise and the Stormlight pen and paper RPG later in the year, something that many of you have been asking us for. I’ll give Brotherwise some room to update you later on that, as well as time for my crowdfunding team to talk details about Words of Radiance.

So, we’re not stopping—and I hope you’ll find something to love in what we’re doing. However, we’re not also going to try to replicate the lightning in a bottle that was the Year of Sanderson. I’m happy to walk away from that experience victorious, and let the quality of what we created stand for now.

Johnny O'Neal

Since 2022, Brotherwise Games has been working in close partnership with Dragonsteel to create the Stormlight® RPG. The official tabletop roleplaying game of The Stormlight Archive, this is a truly ambitious project that brings together some of the world’s most talented fantasy illustrators and game designers. We shared an overview of the system at Dragonsteel Con, but we can reveal a few new details today!

The Stormlight RPG will launch with three books. The Stormlight Handbook is our core rulebook for GMs and players, containing all the rules you need to play. The World Guide is a setting book that explores Roshar in detail, from its history and cultures to its unique flora and fauna. It’s also a gorgeous art book packed with new illustrations of the world, from the Shattered Plains to Rall Ellorim and beyond.

We can’t yet reveal the name of our third release, but it’s a campaign book featuring adventure content that will take heroes on an epic journey across Roshar. While every aspect of the RPG has been developed in collaboration with Dragonsteel, this adventure concept came directly from Dan and Brandon. It gives characters the chance to bond spren, become Radiants, and play a pivotal role in events leading up to the True Desolation.   We’ve designed this game for every Stormlight fan, whether you’re a longtime RPG aficionado, a first-time player, or just someone who will enjoy reading through new lore and artwork. You can sign up be notified when the crowdfunding campaign goes live in the second half of 2024. This is a dream project for everyone involved, and we can’t wait for you to experience this fantastic game

Questioner

So, I noticed that in Mistborn, the way you get magic is very biological, the way you swallow it. *inaudible* I wondered if they have such a malnourished kind of life? *inaudible*

Brandon Sanderson

Good question, I've never been asked that one before. Does this have to do with their malnourishment? I did not build into it that this had to do with malnourishment. You can certainly imagine it that way if you want. The whole origin of this was, I'm always looking for something that has one foot in science and one foot in superstition. And metabolizing energy, eating things and getting-- that feels so natural to us, that when I tried it with the metals, it worked so well. It's one of those cool things, that I work backwards from. I'm like, "This works. This is really cool. People read this and they get it." In fact, people often say, "I dreamed that I ate metal and flew around." And it's just one of those things that sounds so weird when you describe it, but in a book it works really well. And I think it's because it has that connection to biology. So, I started with that, and then justified. But, I wouldn't say the malnourishment-- Their souls might be crying out for some Spiritual nourishment.

Questioner 1

Can you tell me the name of Dalinar's wife?

Brandon Sanderson

Well…  I can but I'm not going to, because it's not that big a deal but it is something for him in the books. I would just rather you read it in the books, but you will find out.

Questioner 2

Will it be in the third book?

Brandon Sanderson

Well in the flashbacks he doesn't have that issue so when you see her from his viewpoint in the flashbacks he can say her name and he can hear it. So the flashbacks involve him meeting her and things like that, so you'll know her name then. And it's not like some big secret like "Oh her name--" but I would rather you just read it there.

Amber Burningham

What Ajah would Jasnah be in?

Brandon Sanderson

I think she would be pulled toward Brown. The personalities of the Browns don't often fit her, so I bet she'd end up in Blue. It could be Blue—it could be Brown though. I could see Jasnah ending up in Brown. I mean, she's a historian. That's her "occupation" so to speak, but she's a historian who is trying very hard to save the world from something that she sees coming that most people don't anticipate, and that's a very Blue thing, this "I am one woman against the world" sort of thing. 

Brandon Sanderson

Part One Wrap-up

Well, reading that section of the book again, I'm now very pleased with how it turned out. It introduces what I wanted it to, keeps things moving, and sets up the conflict for the book.

It's hard, however, to look at it objectively. It's been through so many drafts, with so many beginning chapters, that I can't quite see it the way that I once would have—and certainly can't see it like a reader might.

As we move into part two, things stabilize back to the original order and plot I'd planned and outlined for the book. (Though, there is another major upheaval at the ending.)

It's strange how a book, for a writer, can bring back memories. You know how scents can trigger memories in your head? Well, sometimes chapters can do that. You work on a project like this for so much of your life that it becomes part of you.

I submitted one of the revisions to chapter one (the Vin fight on the streets) to my college class in which I met Heather, the girl I dated for much of the year last year. I was beginning to imagine the ending of Mistborn 3 when I went on vacation last summer, and was missing Emily, whom I eventually married. I was imagining Mistborn 1 as I got the phone call that eventually landed me a book deal.

This series is a big part of my life, and I will be living it for years yet. That's kind of a comfortable, yet interesting, thing for me to imagine for some reason. I can't even begin to understand how it must be for authors who write series longer than trilogies!

Questioner

White Sand, I know you're working to convert it into a graphic novel, how close is that graphic novel going to be to your initial--

Brandon Sanderson

Alright, so the question is about a book called White Sand, which is one of my unpublished novels. I wrote thirteen during the days when I was trying to break in. Several of them were good but not great. One of them was great, and that was Elantris, the one I published. There were a lot of practice novels in there and some that, with some revision, could be very good. One of those, the best of them, is called White Sand, and some of the fandom have read that. I mean, if you really want to read it, it's not up to the par of my current books--so read all of those first--but if you've run out of stuff to read you can email me and I email to people, just in my web form. But the book is actually pretty decent, it's got one major flaw, which is that it's really about 100,000 words of story stuffed into about 200,000 words of book, right. I hadn't quite learned how to do pacing quite as well, and the characters aren't quite as complex as the ones that I write now. So we are doing a graphic novel adaptation of that, because I felt that we can trim and add a little depth to characters and it'll be a great book, and it felt like it would be a lot easier for me to do that, working through scripts in a graphic novel format, because you naturally just trim, than it would be to rewrite the entire book. 

So we're doing a graphic novel, I'm doing it with Dynamite, who has put out a lot of really solid adaptations, it's one of the things that they do very well. They've been a blast to work with. Their illustrator is excellent, their schedule, they've been very regular on their schedule. I told them that I really would like to have the entire book done before we release anything, because, I don't know if there's any Wheel of Time fans here, but the Wheel of Time comic book had issues, with release times. So I'm a skeptic, because I know about that whole thing and so we're going to try and get the whole book done. So it's going to be a little while before we actually release it, but theoretically once it's done we should have the whole thing, or at least a sizable chunk of it finished already. So the big difference is going to be trimming that down. We'll also probably do a little bit more stuff with the cosmere than I originally did in it. 

Scott Wilson

What are you reading at the moment and who are your favorite authors?

Brandon Sanderson

At the moment sitting on my shelf next to be read is The Wee Free Men by Terry Pratchett. I also have a manuscript of Variant, a novel by a friend of mine, Robison Wells, which will be coming out in a year or so from Harper Teen.

Favorite authors, in no particular order: Robert Jordan, Terry Pratchett, Victor Hugo, and Dan Wells. The list really depends on my mood at the time, who I've been reading a lot of recently. There are many authors from whom I'll love one book and not be as blown away by their other novels. Here's a sampling of single books I think are fantastic: A Fire Upon the Deep by Vernor Vinge, Dragonsbane by Barbara Hambly, Tigana by Guy Gavriel Kay, and Sabri El by Garth Nix.

Questioner

I was wondering with Emperor's Soul-- it's in the same world as Elantris.

Brandon Sanderson

Yes.

Questioner

But it's a completely different magic system.

Brandon Sanderson

Yeah.

Questioner

Do you ever see The Emperor's Soul, like, that magic system in further Elantris books?

Brandon Sanderson

Yeah, you will see more of that. Elantris-- So what Elantris is very-- is interesting-- is Sel, the planet that is, that each region has basically a way of accessing the magic, and they're all, in my mind, programming languages. And you use different things to program, and call functions basically. And some people etch into bone, some people draw in runes, some people make the soulstamps. You can do it through a tai chi-like thing in one of world-- in one of the lands. So it's like a-- region-based for reasons that cosmere magic experts I think have figured out by now.

Questioner

Well it's like there were two deities, I think, Invested in that planet?

Brandon Sanderson

Yep... The reason is-- and we have announced it-- the reason it is is, so on Sel-- somebody killed the two deities there, right? And then stuffed their corpses, which are just huge magic reservoirs, just *inaudible*. So all their power stuffed up into what we call the Cognitive Realm, the realm of the mind, which is location dependent. So all the magic is getting filtered through that, it does weird things to it, it makes it region-locked. So yeah.

Questioner

Is it the only world that has many different ways that magic is--

Brandon Sanderson

Well a lot of them have different ways. For instance, for-- on Scadrial we've got Feruchemy, and Allomancy, and things like that. So most worlds have different interpretations, and things like that. Sel's the only one you've seen where it's region dependent.

GypsyKylara

My question is about writing, kind of.

As an author, you have achieved moderate success. People like you and have heard of you within the genre and you have established a relationship with your publishing company that lets you get a lot of books published.

This is the level of success I want as a writer and I am just wondering how financially viable this is. Like, can you write only or do you need a so-called day job? Are you able to support your family with your writing alone? That kind of thing.

Sorry if that is kind of a personal question. I've just always wondered how much money a writer makes once they've "made it".

Brandon Sanderson

I had a lot of questions like this myself during my days trying to break in. Everyone told me it wasn't possible to make a living as a writer—that, like an actor or a musician, I'd spend my life poor and obscure.

One of the big turning points came when I met and talked to a professional writer who had had modest success. Not a huge name, but a person who had done what you hope to do. Publish a book every year, never be a household name, but well-known enough in-genre that a large portion of the readers had seen his books on the shelves, though many still had no idea who he was. (The author was David Farland, by the way.)

I wish I could give you that same experience, though it's going to be harder while not face to face. The main tone of the meeting and his encouragement was this: IT IS POSSIBLE and YOU CAN DO IT!

Not everyone can make a living at writing. But it's very within reach, and for the dedicated author willing to practice and learn, it's not as difficult to make a living as many make it out to be.

I do make a living full time at this, and have for several years now. In the early years, it wasn't what many would call a 'good' income, but it was enough for me. Now, it is an excellent income. Not "Fly to Europe every week" income, but certainly "Take your friends out to eat once in a while" income.

A standard royalty for an author would be to 10-15% on a hardcover, and around 8% on a paperback. Usually, the percentage gets better the more copies you sell.

Now, books don't sell the huge numbers that people usually think they do. If you sell 2k hardcover copies in your first week, you can get on the NYT list. (Though it's not certain—it depends on what week it is and what other books came out. 3k is a pretty sure bet, though.)

Elantris—an obscure, but successful, book—sold about 10k copies in hardcover and around 14k copies its first year in paperback. I've actually sold increasing numbers each year in paperback, as I've become more well-known. But even if you pretend that I didn't, and this is what I'd earn on every book, you can see that for the dedicated writer, this could be viable as an income. About $3 per book hardcover and about $.60 paperback gets us around 39k income off the book. Minus agent fees and self-employment tax, that starts to look rather small. (Just under 30k). But you could live on that, if you had to. (Remember you can live anywhere you want as a writer, so you can pick someplace cheap.)

I'd consider 30k a year to do what I love an extremely good trade-off. Yes, your friends in computers will be making far more. But you get to be a writer.

The only caveat here is that I did indeed get very lucky with my placement at Tor. It's the successful hardcover release that makes the above scenario work. If you only had the paperback, and everyone who bought the hardcover bought that instead, you'd have to be selling around 60k copies to make it work. That's very possible, and I know a lot of midlist writers who do it.

Anyway, numbers shouldn't be what gets you into this business. If you have to tell stories, tell them. To be a writer, I feel you need to have such a love of the process that you'd write those books even if you never sold one. It's not about the money, and really shouldn't be. (And sorry to go on so long. I just feel it important to give aspiring writers the same kinds of help that I got.)

Questioner

Do you draw from any kind of like specific set of life experiences for your writings? Or is most of it just from your imagination?

Brandon Sanderson

Do I draw from a specific set of life experiences for my writing or is it just from my imagination? I would say my imagination is fueled by my specific life experiences. So the answer is both. Everything I see can become a part of my books, but at the same time sometimes it's just a happy accident.

People ask about Steelheart, the bad metaphors. One of the things about the main character is he is really bad with metaphoric language, comically bad. That happened on accident, I was writing his viewpoint and I'm like "This character is dry, he needs more of a soul, he needs more life. How can I make him work?" and I accidentally wrote a bad metaphor. That happens a lot when you're writing, you know, purple prose and bad metaphors just come out when you're not looking. It's like they sneak out onto the page and you're like "That was really bad". Then I paused and thought "Well, let's go ahead and leave it in *laughter* and run with this." And it was great because it became a metaphor for David's metaphor-- kind of coincidentally or ironically or whatever-- that bad metaphors become a metaphor themselves because he became the character who tries too hard. He's really earnest and he's going to get stuff done but he's trying a little too hard. And that's where the bad metaphors come from, he over-thinks them. He tries too hard to put something together and it ends up as just a big mess. But his earnestness comes through it, and that became his character and it works really well. But that one's just an accident.

Questioner

Do you have a favorite of the Mistborn books?

Brandon Sanderson

I don't really have a favorite, though I think Bands of Mourning is probably the strongest of those. Though, the first original Mistborn might be a contender, as well. It depends. See, my prose and storytelling ability has gotten better over the years, and Bands really had a bunch of things come together that I like to do and I think worked really well. The issue is that the story for Mistborn One is more epic and is, in a lot of ways, more novel. And because of that, it's the progenitor. So, I don't know. But I don't really pick favorites of my books, generally.

Brandon Sanderson

Chapter Five

Prison Names

Why did I use prison names? Well, the truth is . . . because. It felt kind of fun.

It wasn’t one of the things I’d been planning for the book. I knew I was going to name someone Alcatraz, but not that I’d use prison names for other characters. And yet, as I did it, I realized that Bastille was a great name for a girl and that Leavenworth would work really well for Grandpa Smedry’s real name.

After that, the joke took on a life of its own, and everybody got a prison name. A real-world explanation for this is coming later in the book.

Lance Alvein

To get us started, Brandon, do you want to give everyone a quick idea of what the cosmere is?

Brandon Sanderson

*laughs* Okay. So, here's what's going on: When I first was trying to break in—this was over ten years ago now, like fifteen—someone told me that your first five books were generally unpublishable. That was fairly good advice; I found that for most people it's really just your first novel; your second novel tends to get really good. For me, I did end up writing five experimental books that I never published; Elantris was my sixth book. Another piece of advice I got while I was working on it, however, was: you don't want to start with a big epic, the reason for that being is that you want to give a chance for readers to read something, you know, a single volume, or maybe one or two books before—so they can see, so they can trust you to finish a story before you jump into a big epic. It actually seemed like pretty good advice to me; it also works very well with publishing because approaching editors and things like that, you want to be able to send them a book, and if they reject it, but say, "Hey, I'd like to see something else by you; this wasn't the right project for me, but I like your writing." You can't really send them book two of that series, right? Because, you know, they want to see something new, and so I sat down to write a sequence of three or four standalone epic fantasy novels that potentially could have sequels maybe, but the idea was to make them standalone. But, kind of in my heart, I've always loved the big epic. You don't grow up reading Robert Jordan and Tad Williams and Melanie Rawn and people like this, without saying, "I want to do that." And so, what I started doing was actually building a hidden epic behind the scenes with all of these books, the idea being that there were characters who were crossing between the worlds that would have a story that someday I would tell that wouldn't be directly important to the book itself, but would lay the groundwork and give foreshadowing to something very large coming.

And so I designed this thing—you know, I'm a worldbuilder—I designed this thing with a sequence of planets and a story behind the story, and people crossing between them. And so, when I wrote Elantris, I embedded all of this in there, and then my next books were in that sequence jumping around—some were before, some were after—and things like this, so there are these continuing characters. Well, years and years later, I decided I would finally start writing something big and epic; I was tired of not getting published; I was tired of all the advice people were giving me; I had written a couple of books that were not very good based on the advice that people had given me. I said, "I just want to write my big epic," and that's when I started Way of Kings, and wrote that. And I'm like "I'll the launch into the big epic, some of these things are going to be more important to the series" It was kind of me honestly giving figuratively the bird to all of publishing, saying, you know, "You've told me that my books are too long, that two hundred thousand words is too long; I'm gonna write one that's four hundred thousand," so, you know: "I don't care; it's gonna be big and awesome and it's the book for me." I spent eighteen months working on this book, and right after I finished it, I sold Elantris. It sat on an editor's desk for a year and a half. He finally picked it up and read it, and tried to get a hold of me the next day wanting to buy it.

And so, suddenly I sell Elantris which I had written like five years before, which had all these things embedded in it, and I sent that editor The Way of Kings, because you know he wanted to buy two books from me. He's like, "Alright, the standalone is great; what else do you have?" so I sent him Way of Kings, and he panicked. *laughter* He was like, "Ahhhhh, this is huge, and what are all these illustrations that you're talking about, and I don't know if we can-- can we break this into like four books?" And I'm like, "No no, it's gotta be one book." And he's like, "Ahhh...." But fortunately for him, I didn't feel the book was ready at that point, otherwise I might have forced him to publish it. I felt my skill wasn't up to the task of doing that since I'd practiced only doing standalones up to that point, and so I said, "I want to do a trilogy so I can practice the series format; I've got a pitch on this book called Mistborn that I want to write for you." And Mistborn was the first book that I ever wrote knowing it would get published. So when I sat down to write Mistborn, I had already sold Elantris, and Elantris was coming out, and it all of this stuff embedded in it, and I'm like, "Do I keep going with that or not? Do I just go all in?" And so I decided to go ahead and do it, and so Mistborn has all of this behind-the-scenes sort of story things built into it, and there's a character from Elantris—it's the beggar that Sarene meets near the end—who is also in Mistborn, who is the beggar that Kelsier talks to, that they wanted-- pretending to be blind, that he gets information from, and then this character keeps appearing in all of the books as kind of a little Easter egg that was not so Easter-eggery because the fans found it right away. *laughter*

And so the cosmere is my name for this big universe, which is actually, you know, just a play on "cosmos"—it's not the most original word—but it's something I had actually come up with when I was a teenager, so, it's one of those relics that's in there that if I were to do it now, I might name it something a little less obvious. I don't know; it does work, and it is a fun name, so that's there. The character's name is Hoid, and there are other characters moving between the planets, and so there is a buried, deeper story to all of my big fantasies. The thing that I want to tell people, though, is that you don't need to read them in order because these are just Easter eggs; there's not a story there that you can really piece together yet. I don't want people to feel they have to read Elantris before Mistborn, or they can't, you know-- If you read them all, at some point you will have some little extra tidbits of information, but there's not something there that's going on that's chronological that you need to know about right now, but that's in a nutshell what's going on there; there is an underlying theory of magic for all of the epic fantasies that they all follow. I love the concept in science of the unifying law, right? If you guys have studied physics, there's this belief that somewhere out there there's a unifying theory that will unite all of physics, and because right now, you know, the things that happen on the macro scale don't really match what happen on the quantum scale, and you kind of have to have two sets of equations, and people believe that someday we'll find that link that'll put them all together, and that's fascinating to me, science is, and so I have a unifying theory of magic for all of my worlds that people in-world on various planets are figuring out with regards to theirs, but if they had all of the pieces they could kind of put it all together.