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So you have said previously that you could categorize metals in Feruchemy like 8 Physical, 4 Cognitive, and 4 Spiritual. But the Hemalurgy chart says they are Hybrid <Feruchemy> metals so...
So they are what?
The Hybrid metals.
Yeah, remember that all of these categorizations are by in-world philosophers doing their best to come up so you can decide how you want to categorize them, alright.
I was wondering how the animation of the lifeless statues worked, in regard to the use of Susebron's Breath. If they were lifeless, then vasher wouldn't have been able to take his Breath back out of them, nor would susebron have needed such a great deal of breath to revive them—he just would have needed a password. But if they were simply Awakened, no password would have been necessary to animate the statues, just Breath and Command.
It seems like the statues could be neither lifeless nor awakened. Are they unique, because of the use of bone, or am I missing something? The only other explanation I could think of was that they were lifeless, but Susebron's breath wasn't used to activate the statues, he simply had it passed down from vasher, in addition to the statues. If that's the case(and then I've simply been confusing myself with unnecessary, convoluted logic), why was it necessary to keep the breath safe for all these years?
Wow, there are a lot of questions in there. If you follow the drafts, I think you can see the evolution of what became of the Lifeless army. Originally I had planned for the statues to simply have been placed there so that you could Awaken them—just in my original concepts, before I started the writing—and then that became the army.
I eventually decided that didn't work for various reasons. Number one, as I developed the magic system, Awakening stone doesn't work very well. You've got to have limberness, you've got to have motion to something for it to actually be stronger. So a soldier made out of cloth would be more useful to you than a soldier made out of stone, if you were just Awakening something. At that point, as I was developing this, I went back to the drawing board and said okay, I need to leave him a whole group of really cool Lifeless as the army. But that had problems in that the ichor would not have stayed good long enough. Plus they already had a pretty big Lifeless army, so what was special about this one? Remember, I'm revising concepts like this as the book is going along. You can see where in the story I could see what needed to be there. So I went back to the drawing board again.
I think the original draft of WARBREAKER you can download off my website has them just as statues, though at the time when I was writing that I already knew it would need to change. I was just sticking to my outline because I needed to have the whole thing complete on the page before I could work with it. A lot of times that's how I do things as a writer—I get the rough draft down, and then I begin to sculpt.
I eventually developed essentially what you've just outlined in the first part, before you started worrying if you were too convoluted. I said, well, what if there's a hybrid? What happens if you Awaken bones? Can you create something? The reason that you can't draw the Breath back from a Lifeless is because the Breath clings to it. If the Lifeless were sentient enough, it could give up its own Breath, but you can't take it, just like you can't take a Breath from a person by force. You have to get them to give it up willingly. So it sticks to the Lifeless. A Lifeless is, let's say, 90% of a sentient being. The Breath doesn't manifest in them, because they aren't alive, yet they're almost there. A stone statue brought to life would be way down on the bottom rung.
Is there something in between? That's the advancement I had Vasher discover—what if we build something out of bone, but then encase it in stone to make it strong, and build it in ways that the bone is held together by the force of the Breaths? That's really what you're getting at there, that you need a lot of Breath, a lot of power, to hold all that stone together. There are seams at the joints. What the Breath is doing is clinging there like magical sinew, and it's holding all of that together.
Vasher left the Phantoms Invested with enough Breath to hold them together but not to move. You needed another big, substantial influx of Breath in order to actually make them have motion, to bring them enough strength to move and that sort of thing. So it's kind of a hybrid.
Vasher and Denth Spar; Vasher Gets Stabbed
I love scenes in books (when I read them) that imply a great weight of history that we don't get to see between characters. It gives me a sense that the story is real. That these characters lived before the story, and that they'll continue to live afterward (or, well, the ones who survive).
When I built this book, I knew that the Vasher/Denth relationship needed a lot of groundwork to give it that sense. I wanted them both to be complicated characters who have a twisted past. It all comes to head here, in this chapter, and we get the ending of a story over three centuries old. Will I ever tell those stories? Probably not. Like the story of Alendi and Rashek in Mistborn, I think the story between Vasher and Denth is stronger as it stands—as something to lend weight to this book. We will go more into the Vasher/Arsteel relationship (particularly as we deal with Yesteel) in the next book, if I write it.
By this point, you should be wondering just who Vasher is. He's been alive since the Manywar, and Denth implies that Vasher himself caused the conflict. There's obviously a lot more going on with him than you expect.
Chapter Seventeen
The Mists Form
In writing this book, I had to nail down a few worldbuilding issues I'd been contemplating even before the first trilogy ended. What would happen to the mists, for instance, once Sazed took over and became Harmony?
The mists, obviously, are a big part of the series. It didn't make sense—either narratively or worldbuilding-wise—to lose them completely. However, they'd been created as an effect of Preservation trying to use his essence to fight against Ruin's destruction of the world. So . . . wouldn't they go away?
I decided that Sazed would still send them. They're part of the nature of the world now. To acknowledge what had happened, they wouldn't come every night any longer. But they would come. They were changed in that they are no longer simply the raw power of Preservation; they're now a part of Harmony—so they no longer pull away from Hemalurgy in the same way as they used to. They still have the odd effect of being able to power Allomancy. (And Feruchemy as well—if one knows how to do it.)
The mists are, in part, the raw power of creation. And when one is favored of Harmony, the mists have a greater effect than they might otherwise have. We'll see more of this later.
The Hemalurgy table mentions that atium “must be refined” in order to steal any power. Could this refined atium be burned by any Allomancer?
RAFO
What kind of research did you do?
Mainly, it was about fighter pilots and what they go through, what g-force feels like, stuff like that. I'm indebted to a couple of real-life fighter pilots for helping me to get it right. Also, I had to research what it's like to live in societies where the machine of war grinds people up out of necessity to keep the country alive, what it does to them. I took inspiration from real-world regimes to create an amalgamation, which still doesn't go as far as it could have. I just included subtle markers to the reader to suggest the sort of stress they live under.
What happens in cosmere terms with Parshendi? Like, they Connect to a spren. And then, by it do they change their Identity, or what?
Yes. Basically what's happening is, that symbiosis has a similar effect to Hemalurgy, but not so nasty. And it's being reflected there in the Physical Realm.
With Jasnah not being dead when we thought she was dead and Szeth coming back to life; how will you retain tension during future battles if the audience thinks that death might not be the end of someone?
I try hard to make sure things like this are well foreshadowed, but it's always a concern as a writer. Basically every book you write, in an action/adventure world, will contain fake outs like this.
There's certainly a balance. Gandalf coming back in LOTR worked, and Anakin turning out to be alive Empire Strikes back is a powerful moment--but I feel RJ, for example, may have brought people back too often.
Not sure where this balance is for me yet. I know the story I want to tell, though, and I try to leave clues when something like this is going to happen so that it feels less like a fake out and more like an "Aha. I knew it."
Are all of the Heralds who gave up their Honorblades still alive?
Good question! RAFO.
In terms of discussing Identity, I know that in Emperor's Soul, they talk about Identity, and the Parshendi talk about losing their Identity, and then I was just rereading Bands of Mourning, and one of the kandra talks about how the spikes are their Identity. Are all of those things connected somehow or are they different forms of Identity?
They are connected, although the Parshendi losing their identity is a little more metaphorical. But yeah, the idea of these things-- Identity is an innate attribute in the cosmere that is related to your soul, your spirit, and it is one of the things that Hemalurgy can fiddle with and Feruchemy can fiddle with. It's kind of important to how the [Metallic] Arts play out, but it's important to all the magics...
Identity is involved in why you can't use another person's metalminds, right, that kind of thing. And those are all related. The Parshendi is more metaphorical.
I wondered because it's always capitalized, in the book.
Yep, and it's done intentionally. Peter always asks, "Are you sure this one is capitalized?" "Yeah."
Is-- As of Era Two in Mistborn, is Bavadin still alive?
Ehhh... *long pause* I'm pretty sure I've answered that, but just in case I haven't I'm going to RAFO it.
Marsh? The book doesn't mention him after he fights with Elend.
Marsh is alive. I changed this from when I talked to [Peter]. I realized some things about his use of Allomancy that would allow him to survive. Actually, he is immortal. He can pull off the same Allomancy/Feruchemy trick that the Lord Ruler did. (And he knows it too, since he was there when Sazed explained how it was done in Book One.) He's actually the only living person who actually knows this trick for certain. (Though there's a chance that Spook, Ham and Breeze heard about it from Vin and the others.) So yes, if there were another series, Marsh would make an appearance.
I thought that trick required atium and involved burning the atium. With all the atium gone and Sazed not making any more, it would therefore not be possible even for a full mistborn/feruchemist. Am I wrong, is Sazed providing atium specifically for Marsh to allow a friend and valuable servant to survive, or what?
Marsh has the bag of atium that KanPaar sent to be sold, as well as several nuggets in his stomach. So, I guess 'immortal' is the wrong phrase. He's got the only remaining atium in the world and can keep himself around for a long, long while—but he WILL eventually run out. Unless Sazed does something.
Are we going to see Native Americans in the Rithmatist series?
Yes you will. The Native Americans have mostly moved to South America, but there's a Native American main character in the second book.
Yes!
What happened is the– a lot of them got pushed into South America, where the Aztec Empire is alive and well and strong. And so their perspective on what's going on is very different from the perspective happening in Joel's school, so you will see a different perspective on things.
Excellent.
It was already dangerous though, what I'm doing, and I realize this, for those very reasons. Very sensitive issues. Like when I used the Mary Rowlandson account, which is kind of a controversial account as it is, I understood that I was potentially opening a can of worms.
But I mean, I really– I just want to say this, that I really appreciate as a reader that you go into diversity because I know it is a risk, and it means so much to readers to have you writing a different set of characters and people people can relate to.
Chapter Thirty-Eight - Part Three
My one disappointment with this chapter is that I had to end up making it look like I was breaking my own rules. The Allomancy-Feruchemy-Hemalurgy triad is one of the most complex magic systems I've ever devised. The interplay between the three systems, mixed into the mythology of the setting (which involves the mists at a foundational level) makes for some very complicated rules. I try to explain them as simply as possible–simple, basic rules are necessary for most sequences to work.
Yet, the depth of complexity leads to some things that are confusing at first glance. I wasn't planning on having Vin draw upon the mists in this book–I was going to save it for later–but the initial version of this chapter (which had Vin simply grabbing the bracelets off the Lord Ruler’s arms with her hands) lacked the proper drama or impact. So, I moved up my timetable, and gave her access to some abilities she wasn't going to get until the next book.
A lot of the "Rules" of Allomancy are, in my mind, like our basic rules of physicist. They make simple sense, and can be explained easily. However, they only apply when generalities–or large-scale events–are explained. When you get down to the really advanced physics, traditional Newtonian Laws start to break apart.
The same is true for Allomancy. The vast majority of Allomancers aren't powerful enough to look beyond the basics. For them, simple rules like "You can't Push on metals inside of someone's body" apply. It's much easier to tell someone that, as opposed to "People's bodies interfere with Allomancy, making it much harder to affect metals inside of them–so hard, in fact, that only some people you'll never meet can Push on metals inside of people's bodies."
It is a matter of degree of power. Vin, for reasons I'll explain eventually, has access to far more Allomantic power than regular people. The Lord Ruler is the same way, though for different reasons. And so, he can affect metals that are blocked by blood. Vin has to draw upon another, external source of power in order to produce the same effect, but it is possible for her.
Narratively, I worry that this looks too much like I'm breaking my own rules. However, I had to balance drama with effect in this chapter, and eventually decided that I could make it work. I've established throughout the book that there are flaws in the commonly-perceived laws of Allomancy. There are metals nobody knows about. You can pierce copperclouds. In fact, one of the unwritten laws of Allomancy is that it isn't understood as well as everyone seems to think.
You mention... No you didn't mention Arthur Clarke. The guy with the "Any sufficiently advanced technology is distinguishable from magic" ...In, at least, one of the Mistborn trilogies you are probably going to have to deal with the distinction between magic and technology. So can you talk a little about how you are going to address that?
So yeah, addressing the-- This is a really good question, thank you. So Clarke's Law says that "Any sufficiently advanced technology is indistinguishable from magic". Right? And this is kind of a science fiction truism that we use in writing. It's a really cool concept when you think about it. But he asks "Well we're pushing the Mistborn trilogy more and more towards science fiction--"
For those who don't know, I pitched the Mistborn trilogy to my editor, long ago--this was 2003 when I pitched it to him-- I pitched it as a trilogy of trilogies. An epic fantasy trilogy that then after the epic fantasy trilogy we would jump hundreds of years and do an urban fantasy trilogy in a more modern setting, where all of the events of the epic fantasy trilogy became the foundation of religion and superstition and even culture to a modern society. What if our heritage were something like The Lord of the Rings? And then I was going to write a science fiction trilogy where... magic became the means by which space travel is possible. So there is, built-in to Allomancy, Feruchemy, and Hemalurgy, FTL-capability. *audience mutters* *nervously* It's not there yet don't worry. *laughter*
Somebody found the rabbit-hole.
That's all RAFO's. I'm not answering any of that.
So I did Alloy-era, by the way, as a stop-gap between the epic fantasy and the modern because I wanted something smaller-- The modern trilogy is going to be very thick books, and I wanted something to balance Stormlight while I was doing the first five Stormlight...
So he's asking how I'm going to deal with this whole collision... between science and magic. So there's a-- I don't know if corollary is the right term. Probably not, but there's a version of Clarke's Law which you inverse. And you say "Any sufficiently understood magic is indistinguishable from science". In the cosmere the magic is science. What I would call-- say is science fantasy because we've added to the Laws of Thermodynamics. We have this other thing called Investiture, which is what powers all the magic. Which is the souls of the things they call gods, their substance. And you can change matter or energy into Investiture and back. And so we've got a third circle in the old Laws of Thermodynamics and so because of that it's science fantasy. I would still call this fantasy because science fiction is where they go "We're going to take the Laws of Thermodynamics and try to explain what we can do using them" I'm like "No, we're just going to add to them, right?" But yeah that's where we're going. There will be a collision of that but it's really going to be-- To them it's indistinguishable, once you get far enough along, that it really is science.
Is this hemalurgy table also a speculative in-universe document (like how the RPG had atium spikes only stealing temporal, because that's what the steelies believed)?
It is an in-world chart according to the knowledge of some people at a certain stage in the history of Scadrial. [Edit: not Roshar, sorry. Also it’s not Khriss.]
Are Inquisitors bald?
Yes, Inquisitors are bald.
Are they bald from being bald, or do they shave their heads?
They shave their heads. Hemalurgy does not automatically make you bald.
I'm really curious about Boatload of Mummies because Brandon did mention on his updates that you'd worked on it for NaNoWriMo for the past couple of years which is really cool. And the title is incredible. I don't know if that's gonna be the final title, but that's what it's always been referred to. How have you been doing with that?
Thanks for asking us. It's a project that I love. So I finished it. Finished a draft in September of last year. It's rough. It's a really rough draft. There's a lot of things that I'm still working through. I'm trying to narrow down the shape of the plot in a way because there's a little bit of--it wasn't inspired necessarily by these things, but it was after the fact that I realized, "Oh, it's part this, part that." It's sort of begins King Kong, if you imagined getting people on a boat. And then it continues as Death on the Nile. Then you get to a portion on an island. And then it ends The Mummy. And throw in a healthy dose of Venom. So it's like, "Okay, am I doing too much here?" And that's kind of where I'm at. You know, is this even a thing? Have I thrown too much in? Is this too much of a storyline? And i don't think it is. It really is in the end kind of a Raiders of the Lost Arc sort of story. You could pull out those some of those same elements and say, "Raiders of the Lost Arc starts out King Kong." But the basic plot line is there. There's going to be scenes in the current draft that are basically finished. I don't think they're going to change too much from the version that it is right now to the end.
Will it be called Boatload of Mummies? Probably not. I can't see that as a title of a Cosmere book, right? But we can affectionately call it Boatload of Mummies as long as we want. The working title is Book of Nails. And whether there's a series title or not, we'll have to figure that out if it's a story that people want to continue learning about.
But let me tell you Nicki Savage is so much fun to write. Don't expect exactly what you get from the broadsheets because she is writing to a particular audience, and has learned some skills from Allomancer Jack--though I do think Allomancer Jack's stories might be closer to the truth than Nicki's are.
You will see parallels between this story and some of the elements that are in the broadsheets. But she's basically: if you can imagine a Mary Poppins. who is incredibly interested in the supernatural, and is not afraid to beat up people. That's basically your character right there. And she's just, she's a load of fun. A boatload of fun.
I imagine from what you've said that you still wouldn't be ready to give us what could eventually function as a back of the book blurb?
During the first NaNoWriMo that I worked on it we had to come up with our elevator pitch on that, and I wrote the Readers Digest, TV Guide version of it, and it was "A woman with a strange, magical power journeys to an island to find a mythical book that might raise the dead." Something like that.
This particular book is interesting because... How do I pitch this when it's a spin off of a different series. It's a spin-off from Mistborn, technically. But it's not a Mistborn book. You can't pitch that to somebody who doesn't know Mistborn. And that's been some of the fun in trying to figure this out is "How do I tell a different story here, but then have to reintroduce how Allomancy works? But now in this era, we know about Allomancy, we know about Feruchemy, we know about Hemalurgy. We have crossovers from other worlds. How do you write this book without confusing somebody entirely without... "There's like 50 magic systems in here, and I don't understand." And that then goes into the pitch. How do you pitch this book? People who know the Cosmere, you just say it's set on Scadrial, but it's not really a Misborn book. It's just hard to encapsulate and someday I'll figure it out.
What gave you the inspiration for cytonic slugs?
The cytonic slugs came into existence when I started writing a short story I called The Eyes. This was a much later derivation of Defending Elysium, where I wanted to tell a story about human refugees in space who were fixing a hyperdrive that turned out to be a living thing. And most people didn't understand that the hyperdrive was a living thing, it was a secret.
I started writing this short story, and the lore was not clicking quite right. In that one, they were these glowing things. They looked like a power source, so people didn't know they were alive. The whole story didn't work, it wasn't the right rebuild of things from Defending Elysium. So I shelved that story. Sometime I'll let you guys read it. I may have put it out, I can't remember, but if I haven't I'll-- I only got two or three pages into it.
But that idea kept going in the back of my head. And eventually, when I was writing and building Skyward, I knew what I wanted was something that would look innocent, that Spensa would mistake for being the ship's hyperdrive. That would just look like it was something that's there, I like to hide things in plain sight. So putting a cute slug in... Why a slug? I don't know. I like underwater sea slugs, that just look cool. That's a cute thing I'd like to have as a pet. They're really something you can't, in our world, have as a pet. You could have it in a fish tank, but you can't get it out and play with it. What if you had one you could? So I built that as the hyperdrive and started having her teleport around, so that when you found out about the hyperdrives, you're like "it's been there all along, that makes sense!" The only thing I had to tweak from my original draft is, I realized eventually M-Bot was gonna have to have been crashed there for a long long time, so Doomslug had to be the great-great-great-great-granddaughter of the hyperdrive for that ship, rather than the actual hyperdrive.
With Warbreaker and Stormlight Archive, Vasher and Zahel. How does that transition occur?
He went to Roshar because he knew ahead of time, that you could get Stormlight, and how easy it was. So he made his way there because he was tired of sucking people's souls to stay alive.
How did he know?
He, as part of a group of scholars, stumbled upon the nature of worldhopping long ago.
Could he be the same group of scholars as Jasnah?
No, it's a group of scholars on Nalthis who were studying magic, Investiture, and stumbled upon the means by which you transition into the Cognitive Realm. So, he actually had experience with Shardblades before, and that was part of how he built... well, he was part of it, but really...
So, is Nightblood kind of like a Shardblade? Is a Shardblade?
Nightblood is an attempt to make a Shardblade using a different magic. And it turned out poorly.
Speaking of Nightblood, how did that transition from Nalthis?
I have not answered that yet. Eventually, you will find out how they ended up on Roshar.
Aluminum in the cosmere cannot be Invested or generally affected by Investiture processes. The exception to this however is the Metallic Arts where aluminum can be burned, turned into a metalmind, or charged with Hemalurgy. Is this due to an exception in the normally Investiture-proof properties of aluminum specifically for the Metallic Arts? If so, what kind of Connection is there between the Metallic Arts and aluminum which allows this to occur?
RAFO
Are any of the Lord Ruler's descendants alive during Era 1?
RAFO. A lot of people have asked that. The descendants of the Lord Ruler only are things I've confirmed in Words of Brandon, they are not confirmed in book. RAFO. They did exist, he has had progeny.
How did you come up with the idea of windspren?
Windspren in specific? I was thinking about the way the wind is often anthropomorphized, right? It's treated as if it's something alive. And that, for years, just stuck in my head. For a while there were only four windspren, one for each of the quadrants: the north spren, the south spren, the east spren, the west spren, or the west wind and things. But eventually I split them into many more, because I was working with the honorspren and things like that.
Are the colors of Shards an indication of how they or their magic systems interact with Investiture? Like Ruin, Hemalurgy, Nightblood steals Investiture...
Not really, vaguely.
Is Kelsier still alive during Mistborn Era 2?
RAFO.
Hope of Elantris
I'd been itching to write another Elantris story. Because of the nature of publishing, I knew that I couldn't do a sequel to the book at the time, as the Mistborn novels made so much more sense to publish. However, Matisse's project gave me the inspiration that I needed in order to turn my attention back to Elantris. I stopped writing on Mistborn: The Well of Ascension and wrote out this section of the Elantris story.
Because Matisse had inspired me, I decided that I would name a character after her. I also felt that if I was taking the time to write a short story in the world, I wanted to introduce a new character rather than telling the story from Dashe's viewpoint. (As would have been likely had this section ended up in the final novel.) Therefore, it was reasonable to write it from the viewpoint of the character I'd just named after Matisse.
The Matisse in the story doesn't act like the real Matisse. I didn't know the real Matisse; I'd never met her. (Though I did have Pemberly describe her so that I could make the character look like her. Matisse was one of my wife's favorite students, as you might imagine from her doing fantastic projects like the Elantris book.)
After writing the story, I sent a copy with Pemberly to give to Matisse as a gift and a thank you. I can only imagine how surprised she was to turn in a project based on one of her favorite books, then get back a short story written by the author including her as one of the characters in the world. This is the kind of nifty little thing you can pull off once in a while as a novelist, and I just couldn't pass by the opportunity.
(Of course, the fact that I'd just put one of Pemberly's favorite students into a story for her, then let Pemberly give the gift, did not escape me. I can't help but think it got me a few bonus points. After all, we did start dating exclusively just a short time after that. . . .)
Matisse gave us the original Elantrisology book she had made as a wedding gift. She still comes to a lot of my signings, and as far as I can tell is still one of the most awesome people alive. (Though I'm biased toward anyone who says nice things about my books.)
The knife used by Moash is "something similar to hemalurgy."
Is it a Dawnshard?
Good question but no.
Do you have, for Starsight and Skyward, aesthetic touchstones that you bring to these different books? Or does it just all sort of emerge from the storytelling as you get into your characters?
I do, and it depends. Sometimes, as I'm working on the book, I develop those. Sometimes it's ahead of time.
My cultural touchstone for Skyward was me saying, "All right. These people are in just this terrible situation. And they are constantly being fought by this unknown enemy. What kind of society would grow out of this?" And I pushed it towards a little bit of an authoritarian, martial dictatorship. Using, actually, North Korea as one of the touchstones, and some of the Axis powers as touchstones. And a little bit, in places, of communist propaganda, and things like that. Some of the visual touchstones was Italian futurism, and things like this, just to kind of give this same sort of feel that I was looking for. If you read the book, there's just little hints of it here and there. You're gonna see cubist designs in the architecture, and you're gonna see the paintings and things they describe have this sort of Italian futurist feel to it. There's a little post-Art Nouveau. You've probably seen the art style. It's, like, ships flying into the air leaving lines of red and yellow light in the sky, and very very almost Art Deco-ish feel. These were my visual touchstones for myself. Just because the society, I thought, this might be the closest thing that we have on our planet to how I feel this would really arise with the military being completely in control and lots of people being lost in battle but them needing to keep morale up, and things like this.
So this whole aesthetic of speed and force and martial unity and finding themes of, there is a particular beauty to those kinds of things. There's art that reflects it.
There's also this kind of, "Desperate times call for desperate measures." And one of the things Spensa butts up against in the books is, "Have we gone too far on this? Have we become so focused on this that we're losing track of what it means to be human? But, at the same time, is this what kept us alive? Maybe the fact that we can even think about being human exists because of how extreme our society had to become." And these are really interesting questions that are fun for writers to deal with. Part of the reason that I write sci-fi and fantasy is it allows me to pluck some of these things from our world, separate them from some of the cultural baggage, and try and approach them and talk about them in story form. So I can just explore what it might feel like and how some of these questions might be explored, potentially, by us in the future.
So here's my last question. If there ARE people on the other side of the world, did Vin kill them all by placing the sun on their side, or do they have they're own Ruin/Preservation battle going on over there as well? Do they also have allomancy feruchemy and hemalurgy?
No, they're not dead. Yes, Rashek was aware of them. In fact, he placed them there as a reserve. I knew he wanted a 'control' group of people in case his changes to genetics ended with the race being in serious trouble. All I'll say is that he found a way other than changing them genetically to help them survive in the world he created. And since they were created by Ruin and Preservation, they have the seeds of the Three Metallic Arts in them—though without anyone among them having burned Lerasium, Allomancers would have been very rare in their population and full Mistborn unheard of.
Would Hemalurgy work on an AI?
RAFO.
Chapter Ten
Are the Elantrians zombies? I've been asked this question before. The answer is a little bit yes, a little bit no. I very intentionally don't make any references in the story to them being zombie-like, and I certainly don't call them "undead." Both words bring a lot of baggage with them.
No, the Elantrians aren't "zombies." However, they certainly would fit the standard fantasy definition of being "undead." After all, their bodies aren't really alive, but they can think. Still, I resist comparisons to established fantasy traditions. I wanted the Elantrians to be their own genre of creatures. In the world I have created, they are simply "Elantrians." They are people who don't need to eat, whose bodies only function on a marginal level, and whose pains never go away. For the function they fill in the world and the story, I'd rather that they be compared to lepers.
That said, I always have wanted to do a story with a zombie as a main character.
Does it feel like your own work when you hear [a translation]? Is it recognizable in any way? What do the translations do with your work? I suppose you get a lot of questions by your translators about the magic, about invented words. How does this reflect on your writing?
You know, I’m not sure if it changes the way I approach my writing at all. But I do find it fascinating. Hearing a reading, in particular, is in some ways, it’s a double interpretation. Because first, you have the translation to German. And then you have the narrator... will give an interpretation, as well. But one of the things about writing that I believe is that I’m not completing the story. What I do is, I write a script. And every person who reads that book is going to finish the story in their head. I give descriptions of the characters, but even with those descriptions, every person who reads the book is going to imagine those characters [in a] slightly different way. So I’ve always viewed myself, as a writer, as kind of like the screenwriter. Where the reader is the director, who’s going to finish the story. And I don’t think a book really lives until it’s been experienced by a reader. And so it doesn’t bother me, the idea of going through translators or getting different interpretations by the audiobook narrators, because I feel like my text is going to be interpreted by whoever experiences it, in different ways. And in some ways, as soon as it gets experienced by a reader, it becomes their story. They finish it, and it doesn’t really ‘come alive’ until they’ve done so. So, it’s not finished anyway. I think it’s just really cool. I like seeing fan art, even though each drawing of a character looks different from another one. It lets me see a little bit how that book was finished in that reader’s mind.
How far out do you plan some of the magic systems? When I was reading Mistborn, you hinted the Hemalurgy stuff so early on.
I like, for a big series, to have a really tight outline, for the worldbuilding in particular, for the whole series. Mistborn, I had an advantage, in that I was able to write the whole thing before the first one had to go to press. I was early enough in my career that they were not rushing my books out. So I wrote the whole series, then went back and did all the revisions in the first one, and sent it in. Hopefully, you will be able to get the same sort of things out of Stormlight.
So I’ve heard you talk about a book and as a nurse is really interesting to me, or the idea of the book. It’s the one where viruses not only make you sick but they also give you a super power. So I was kind of wondering on the list of when projects are being...
I originally called this book Silence Divine and the idea behind this book is—I’m always looking for interesting interesting Magic systems and I came up with an idea of “what if viruses and bacteria evolved in line with the magic on the world so that when you caught the disease you got a power” Like if you catch the common cold you could fly, as long as you have it. But when you get over the cold, you can no longer fly. So they keep you alive to help spread themselves and things like that. So when your immune system beats them you lose the power. The book will be about someone who’s basically like half-counter-terrorism, half-police force, where they keep track of these things because what happens when it moves through the city. Like half-CDC, half-counter-terrorism, half-police force. Where suddenly everyone in the city can walk through walls. What do you do, as the police force, when that happens? And things like that. And they keep special people incubating diseases that have come through before and they keep their immune systems low so in an emergency they can go in and catch a bunch of diseases and stuff like that. It’s going to be really awesome.
And the answer is, I have no idea when I can write this book. It is in the Cosmere, so it’s part of all that, but I have no idea because I really feel, coming off the Wheel of Time, the people who are fans of my work, everyone understands, at least I hope they understand, that the Wheel of Time was something I needed to do. But it did delay people getting things like Stormlight Archive and stuff like that. And I feel like right now I really need to dedicate myself to getting a few books out in the Stormlight Archive before I get too distracted by anything else, such as this, and I write books that are really cool but no one’s asking for, really, at this point. (Except for you so thank you.) So I will eventually write that book. I have toyed several times doing a novella in the world just to get that out of my system. So maybe eventually we’ll do that.
/u/Mistborn (Brandon) said that Eshonai will be the flashback character in Book 4. (source), which would indicate that she's probably still alive in some form.
But we'll see. He could've changed it or that could've been a diversion from Venli being the actual flashback character.
Eshonai is the flashback character--but she is dead in the present. I've warned people multiple times that we WILL have flashbacks to the viewpoints of characters who have died.
In Shadows of Self Paalm tells Wax she hasn't killed his father-- she hasn't killed his father yet. Is Wax's father still alive?
Uh, that was not who she was referencing.
Okay.
Mmhmm.
Was it Marasi's father?
Um--
Because that's who Wax assumed.
Yeah, um--
It was what he assumed?
It is what he assumed, yeah-- No no no no no! It's not what he assumed, sorry.
Then she tells him she's not talking to him, so--
Nope, no, no. She is not talking-- she was talking about something else completely. Not Wax's father and not Marasi's father.
Okay.
Yeah, sorry. I had to work through that scene, that's why-- yes. There is a different reference there.
Is it the one that it turns out to be? Is that what she was talking about, or is there more trick there that we don't know yet?
Um-- It's-- No, don't work to hard on this one.
The Origins of Siri and Vivenna
Back around the year 2000 or 2001 I started writing a book called Mythwalker. It was an epic fantasy novel, an attempt to go back to basics in the genre. I'd tried several genre-busting epics (one of which was Elantris) that focused on heroes who weren't quite the standards of the genre. I avoided peasant boys, questing knights, or mysterious wizards. Instead I wrote books about a man thrown into a leper colony, or an evil missionary, or things like that.
I didn't sell any of those books. (At least, not at first.) I was feeling discouraged, so I decided to write a book about a more standard fantasy character. A peasant boy who couldn't do anything right, and who got caught up in something larger than himself and inherited an extremely powerful magic.
It was boring.
I just couldn't write it. I ended up stopping about halfway through—it's the only book of mine that I never finished writing. It sits on my hard drive, not even spellchecked, I think, half finished like a skyscraper whose builder ran out of funds.
One of the great things about Mythwalker, however, was one of the subplots—about a pair of cousins named Siri and Vivenna. They switched places because of a mix-up, and the wrong one ended up marrying the emperor.
My alpha readers really connected with this storyline. After I abandoned the project, I thought about what was successful about that aspect of the novel. In the end, I decided it was just the characters. They worked. This is odd because, in a way, they were archetypes themselves.
The story of the two princesses, along with the peasant/royalty swap, is an age-old fairy tale archetype. This is where I'd drawn the inspiration from for these two cousins. One wasn't trained in the way of the nobility; she was a distant cousin and poor by comparison. The other was heir to her house and very important. I guess the idea of forcing them to switch places struck some very distinct chords in my readers.
Eventually, I decided that I wanted to tell their story, and they became the focus of a budding book in my mind. I made them sisters and got rid of the "accidental switch" plotline. (Originally, one had been sent by mistake, but they looked enough alike that nobody noticed. Siri kept quiet about it for reasons I can't quite remember.) I took a few steps away from the fairy tale origins, but tried to preserve the aspects of their characters and identities that had worked so well with readers.
I'm not sure why using one archetype worked and the other didn't. Maybe it was because the peasant boy story is so overtold in fantasy, and I just didn't feel I could bring anything new to it. (At least not in that novel.) The two princesses concept isn't used nearly as often. Or maybe it was just that with Siri and Vivenna I did what you're supposed to—no matter what your inspiration, if you make the characters live and breathe, they will come alive on the page for the reader. Harry Potter is a very basic fantasy archetype—even a cliché—but those books are wonderful.
You have to do new things. I think that fantasy needs a lot more originality. However, not every aspect of the story needs to be completely new. Blend the familiar and the strange—the new and the archetypal. Sometimes it's best to rely on the work that has come before. Sometimes you need to cast it aside.
I guess one of the big tricks to becoming a published author is learning when to do which.
What's going on in the other pole of Scadrial?
Oooh that's a big ol' RAFO. But it is a RAFO with a promise that you will find out before too long.
So in these coming two Mistborn books, maybe? Because there was some mention of something to do with that, I thought, briefly, in Alloy of Law, just some vague--like there was something that had been found, or some brief contact, maybe...
*Brandon clears his throat, significantly* let me say this, so I don't spoil things. By the time we do the 1980's level technology, the whole world will have been explored. I mean, I can't really do the second trilogy, with-- I mean, by then, you know what the continents look like, and things. Even in Scadrial, where they just haven't explored nearly as much, but they're kind of behind on that so far, so sometime between now and then, exploration of the world has to happen.
Good point. Because they didn't have the whole volcano thing going on.
No they didn't. They did not.
How is there anyone alive over there?
Well, I can tell you this because it's in the annotations. The people down there were placed as kind of a control group to the changes that were made to the people of the north, where changes were made to live with the ash and things like that. But other changes were still made to them. Or changes happened to them, shall I say.
Anything you can tell us about Frost?
What do you want to know about Frost?
Everything.
Then no. I'm not going to tell you everything about Frost. He's still alive.
He's immortal?
Yeah. He can be killed, he's just functionally immortal, he doesn't age.
Has he always been able to take the form of that-- *audio obscured*
Yes. He was born as one.
Born as one.
It is a race.
Chapter Forty
The Creation of New Inquisitors
It was very convenient for the system I built into Hemalurgy that the Inquisitors were designed and commanded to hunt down skaa Mistings. There were always enough of those that they could create new Inquisitors to replace the ones who eventually died of old age.
The Inquisitors were always so determined to catch the skaa. So passionate. With good reason, for that was the only means by which their race—and Inquisitors are a separate race, just like the koloss and the kandra—could perpetuate itself.
Since you have basically established that spren are at least to some extent alive, how is it possible for a Shardblade to not cut right through a living weapon, like Syl for example.
What you are seeing is: when they are pulling through into the Physical Realm they are creating something that is not 100% physical, not 100% metal, it's like an amalgamation of the two. And that is doing something very special that then prevents other things from cutting through it. It's specifically the way that it's happening. You could make this happen with other things too.
Another big part of it is the amount of Investiture. If something is highly Invested it's going to stop a Shardblade too, because the Investiture is gonna kinda bounce off of each other. It's theoretical, for instance, you could make a Hemalurgic spike that would stop a Shardblade...
So, Invest something highly and it will stop a Shardblade almost always. But, you can cut souls; they are highly Invested also. So you need something in the Physical Realm that is pulling power through from the other Realms.
Is Cultivation's holder still alive?
Yes.
I will say that one thing that I did after doing a lot of this research was I just decided early on I needed some natural antibiotics. I just did. Because I'm telling a story about a bunch of people who are slaves in a warfare situation whose lives are not cared for, and there's one guy with some medical training who ends up among them, and he considers it his job to keep these guys alive. And I learned very [early] on I needed some natural antibiotics. I just needed-- And that's the thing you can do in an epic fantasy, is you can decide, "You know what? I'm going to make this call, I'm going to build into my setting this way around it," because there were certain stories I wanted to tell, and if he couldn't save anybody, then this story doesn't work.
Hrathen
So, Hrathen wasn't really dead. (Ironically, while many of you are probably saying "yeah, yeah. That was obvious," I actually didn't have him appear here in the first eight drafts of the book. I'll explain later.)
I think this is my favorite scene of this chapter. Not only is it written a little better than the rest of the book (I added it quite late–just this last summer) but it gives final closure to the Hrathen-Dilaf relationship. It uses Hrathen's time in Dakhor as an ironic twist against Dilaf. In short, it is a pretty good scene. Fulfills character, plot, and theme at the same time–while giving us a nice image to boot. (Though I do hate to do the "Hey look, a guy we thought was dead is really alive" twist.)
The story behind this scene is pretty recent. One of the original rewrites Moshe asked for was a fix of the ending, which he thought was too Deus Ex Machina. (Which, indeed, it was.) I don't think I'll go into the entire original version here–it was quite different. You can read the alternate ending in the deleted scenes section, when I throw it up next month. The short of it, however, is that Ien (Raoden's seon) showed up to save Raoden and Sarene from Dilaf. I used a mechanic of the magic system that I have since pretty much cut from the novel (since it was only in the book to facilitate this scene) that allowed Ien to complete his Aon, "healing" Dilaf. Except, since Ien's Aon was broken, it turned Dilaf into an Elantrian instead. (A non-glowing Elantrian. One like Raoden the group used to be–like Dilaf's own wife became after she was improperly healed in Elantris.)
I know that's probably confusing to you. The scene, over all, was just kind of weak. It relied on a barely-explained mechanic mixed with a tangential character showing up at just the right moment. When Moshe asked for the change, I immediately saw that I needed to bring Hrathen back to life for a few more moments. Letting him die on the street just wasn't dignified enough (though originally I wanted him to die this way because it felt more realistic.) I wanted a final confrontation between Hrathen and Dilaf, since it would give most people's favorite character a heroic send-off, and would also let me tie in the aforementioned Dakhor irony.
In the end, I was very pleased with the rewrite. It's good to have an editor.
Jasnah, as I've said, grows more important in the back five.
I'd say spoilers, but I doubt you'd kill her off..
This is entirely from memory so please forgive me if I get this wrong, but I believe [Brandon] has hedged on this topic in the past, e.g. who says she has to be alive (in the usual sense) to be a POV character?
I've said that flashback characters (which are the ones I've announced as having "books" dedicated to them) can die before their book arrives.
In the Cognitive Realm, would they be the Berenstein or Berenstain Bears?
Excellent question, The Mandela effect and the Cognitive Realm. Depends on if the authors are still alive, will influence it. But the way the Cosmere works, I'm going to go with the way most people say it. So Berenstain Bears, probably. That would override.
If you Soulstamp somebody to give them a Connection to Arelon, and they became an Elantrian, could they become and Elantrian, and if the Soulstamp is removed, would they remain?
Okay, so you're asking a better one than people have asked. So you say "You get Soulstamped, you move to Arelon, your soul thinks that it is this, you do have spiritweb of Connection" I will go ahead and RAFO this with the caveat of why it might not work, is because, you might think you’re something, right? That doesn't necessarily mean-- Like, this is not completely invisible and things like this. And so, whether the power is going to follow those lines of Connection or not I will leave up to discussion, but it is a possibility worth theorizing upon.
So a Soulstamp doesn't necessarily change the core of your spiritweb.
It does, but it's overwriting it. It's like Hemalurgy. What you are is still there underneath when it's ripped away, right?
Why do you have to make so many of your terms and names in your books so confusing? I'm going to be using Mistborn as an example: Feruchemy, Hemalurgy--
I think they're cool. Part of the answer is I look for the way languages are built. I try to do things in the way that it's going to feel natural but also foreign, and that is really tough. Like, it's going to feel alien, it comes from a different world, but it's natural to do and remember, and it is also based on the world.
If you think Mistborn is hard, read Elantris. All of those names are based on some linguistics that, I realized as I wrote the book, this is one is even tougher. So sometimes I'm looking for things that are more familiar and less strange, sometimes I'm looking for things that are more strange. At the end of the day it's just whatever I think sounds cool.
My other question is related to the Honorblades (and is most likely a RAFO for sure). Talenel's blade at the end of Way of Kings is described spike-like. We've seen that the magic systems are similar (especially with investiture) across the different cosmere worlds, even though they have different things that make the magic happen (Stormlight vs Breath etc). With this similarity, do the Honorblades imbue similar effects? I mean, the blade is not of Ruin (or is it? lol), but as a spike, does it imbue similar powers to Hemalurgy - without the obvious need to be stabbed with it heh?
The reference is intentional, as a call-back, but it is not the same mechanic. Remember, Szeth's blade is an Honorblade, and doesn't look like a spike. There is some similarity here, but it's minor.
So you said how stuff is stuffed into the soul changes what a bond can give. Is that like the difference between a Spren bonding a Person and and maybe Hemalurgy forcing a bond or is it more like the difference with how Parshendi form bonds with Spren?
I guess a better way to say that is would the bond be different if a human created the bond with a Spren not a Spren Bonding with a human?
These things are all important parts of the system, and I'm curious to see where fans go in exploring the possibilities and theories related to it.
...
RAFO
