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Jerich

Is the Hoed from Elantris similar to the state of [dead] Shardblades? If so is it possible to awaken a Shardblade if the bearer speaks the oaths of the Knights Radiant?

Brandon Sanderson

The status is... I would say not as similar as you're probably thinking, but it does have a similarity in that two bacteria causing a disease are both caused by a bacteria, so there is a similarity there.

I can imagine a sequence where a Shardblade would be reawakened, but I think it would be very difficult.

It's not the same that they're in the middle of a transition, like in Elantris.

Jerich

Oh, okay. So you have to actually... it'd be harder.

Brandon Sanderson

It'd be harder, yeah. It's not the same, they're not in the middle of a transition. They have had something ripped from them, and it's very painful and it's left them mostly mindless.

Jerich

So they have to have that something added back?

Brandon Sanderson

Yeah. So what you've got going on: the spren gain-- the bond lets them have sentience in the physical plane, like they can think and all these things, and when that was ripped away from them-- imagine... (this is a very bad metaphor, it's the first one coming to my head though): imagine you had wetware, you had a head-jack or something like that, and someone just ripped it out of your head. 

Jerich

*stunned/horrified*

Oh.

Brandon Sanderson

Instead of surgically operating it out. Like that's what's happened, a piece of their soul's been ripped off.

Jofwu

Did Shallan change her last name when she got married?

Brandon Sanderson

You do not change your last names if you are...

Jofwu

In Jah Keved?

Brandon Sanderson

Yes, so she did not change her last name. She is still Shallan Davar.

And there's also some... there's some weirdness there in line of succession stuff as well, which wouldn't be the case if she had been from Alethkar, and of certain, proper, you know... But the fact that she is not, she would keep her original name and would not be in succession for the throne.

luke_c

Will you be posting what you change in the Elantris 10th year anniversary re-release like with how you changed the Words of Radiance ending? Also thanks for writing amazing books!

Brandon Sanderson

We'll try. The changes are, on one hand, way more pervasive--but on the other hand, far less substantial. There is a lot of cleaning up language, and a little of moving about the locations of buildings and the like for the sake of continuity.

R'Shara

The two paintings--The Battle of Twilight Falls, and the one that Kaladin sees in Shadesmar. Are they the same?

Brandon Sanderson

I believe that they are, but I could have...When I wrote the original scene, I intended them to be, but I might have changed something later on. They would be by the same artist. You can say yes, unless I changed something. There was something I was thinking of changing. I'd have to go back and look at them side by side.

R'Shara

But they sounded different. One has black in it, that the other one doesn't.

Brandon Sanderson

The thing is, that artist, and people seeing it, I intend them to each see something different in the paintings they see. But I don't know that I actually decided to make that the same painting. But the same artist.

Erik02847

If a listener were to Awaken something, would they imitate the listener or a human?

Brandon Sanderson

They would imitate the listener.

Erik02847

And would that change based off of their form?

Brandon Sanderson

It could slightly change based off their form. More likely it's just gonna about their culture and the way the person sees the world, but the way that the listener sees the world is changed based on their form, so yeah, it'll have an effect.

Questioner

If you were a Leecher, could you destroy a Shardblade?

Brandon Sanderson

I'm going to RAFO that for now, let's just say that it would be incredibly difficult if it were possible, and I'm not going to even say if it is. But that kind of power... 

Questioner

Let's just say they were burning duralumin as well.

Brandon Sanderson

Let's just say that the Investiture in a Shardblade is much greater than your average Allomancer, but... This type of thing is not unheard of in the Cosmere. The larkin, the Leechers, and Nightblood all have a similar sort of thing going on. Destroying a Shardblade would be really hard. And Investiture resists other forms of Investiture, so.

Questioner

I  never understood why Vin couldn't hold the Ruin Shard.

Brandon Sanderson

I could see a world where Vin maybe could have done it. But the trajectory she was on was opposed to it. Vin could have understood and become it. But what are the things that are keeping her? Vin, I don't think accepts, number one, that decay has to happen. She's experienced it a lot. But there's that piece inside her that doesn't want that to happen, doesn't want things to change, does not want people to leave her. I think that would be--if you read through, that's the soul, sort of, center event is, "Don't leave me, don't go away, don't change." And this is diametrically opposed to Ruin. People focus on the fact that she's good at killing and she is. But that heart, that soul...Ruin is more about things changing and decaying, than even about destroying.

Questioner

And I guess that's the reason why she can hold Preservation very easily?

Brandon Sanderson

Yes.

howtofall

We know that the effects of various magic systems are changed by their interactions with metals (Scadrial’s three obviously, as well as fabrials on Roshar). So my question is: when a piece of metal is Awakened, does the type of metal change the nature of the Awakened object in any meaningful way?

For example, If Nightblood had been made of iron or tin rather than steel...

Brandon Sanderson

It would most likely change what is happening with Nightblood to use different materials, and that includes different types of metal.

Boogalyhu34

Can Nightblood be considered a Splinter and does it function like a spren realmatically, are there distinct differences is what I'm asking.

Brandon Sanderson

Nightblood is kind of his own strange thing. He's an attempt to use one magic to replicate something in another. He's closest to a spren, but kind of like a...robot spren, for lack of better words to use.

Argent

When you say that Nightblood is "an attempt to use one magic to replicate something in another," do you mean life in general, or are you referring to a specific effect in a specific magic system?

Brandon Sanderson

There are those involved who knew that Shardblades existed before they tried the Nightblood experiment.

uchoo786

So does this mean Vasher had knowledge of Shardblades before creating Nightblood?

Brandon Sanderson

It means what I wrote, and nothing more at this point. :)

wickedmath

Dude. That's the most tantalizing RAFO I've seen in awhile. Have other Shards made Shardblades besides Honor?

Brandon Sanderson

:) RAFO

Phantine

Is that why Vasher uses the word 'Investiture' instead of some personal term for it?

Brandon Sanderson

I could be wrong, but I think Vasher was the first one in any book I allowed to use cosmere-aware terms for speaking of things like the magics. (Investiture is one of these.)

LewsTherinTelescope

Something I've been curious about: will Liar of Partinel be released as a Sanderson Curiosity eventually? I noticed that in the stream a while back where you listed your unpublished books, you didn't list it among them.

Also, you gave four approximate sort of "quality tiers", of

1. Decent but not great: White Sand, Aether, WoKP, Dragonsteel Prime
2. Readable but not good: Final Empire Prime, Mistborn Prime
3. Bad but not horrible: Knight Life, Star's End, Sixth Incarnation of Pandora
4. Just plain terrible: White Sand Prime/Lord Mastrell, Mythwalker

Which tier would Liar be in?

Brandon Sanderson

Liar would be #2, I'd think. Problem is, it's close enough to continuity (having been written after I'd outlined the cosmere) that I wouldn't want to actually release it until after I've done the actual Hoid backstory book. I've changed some dramatic things about how I want to present the story, so it would be bad to release this one.

We've reached a point where Dragonsteel, however, wouldn't be a spoiler. So I'm tempted to release that one in the next kickstarter. I've been kicking around the idea of an actual revision of White Sand, to make it publishable, and release that as an actual canon novel. It's the only one that could happen to.

ItchyDoggg

Does this mean there is no chance of a canon version of Aether of Night ever being published? I really enjoyed it and think a fully polished version would be fantastic.

Brandon Sanderson

It is unlikely, but not impossible. Aether could be made canon with only slight changes--but it doesn't fit into the larger cosmere story any longer, so I don't know of how much interest it would be.

LewsTherinTelescope

To clarify, you're referring to the actual Aether of Night novel, not the future rewritten Aether books that you've mentioned before, right? Or are those not likely anymore either?

Since Aether of Night could be canon with slight changes, I assume the Aethers in the book will be mostly canon as they are, at least in your current outline?

If you were to revise Aether to be canon, would you be replacing Ruin and Preservation with two other Shards, or would you be more likely to just remove Ruin convincing the Twins to imprison Preservation?

Brandon Sanderson

Future Aether books are very likely. And the aethers themselves are going to be very like the ones in the book.

If I did try to make it canon, I'd probably remove the whole Shard plot from the book and instead either use another Shard, or not add a new one, since the Aethers (as I have them now in the notes) function without a Shard's involvement, and even predate the shattering. (Note, that's not yet canon.)

Matt

You'd talked in your last spoiler chat about this, which was that you had kind of gone back and forth with this idea to have [Taravangian] become Odium and basically this idea of Odium was no longer the threat that he should be or was at the time. Is this something that once you made that decision did you have to go redraw the future plotlines and such?

Brandon Sanderson

No, because the future was drawn both ways in my head and it was which path am I going down, if that makes sense. And yeah that'll have implications when I do the detailed outlines for future books, like the detailed outline for book 5. But this has already been in the works right, and so every outline is in bad shape by the time I get to it, every outline from the beginning, right? Because things just need to change, every book big things need to change. And every book you have dividing points, where you're like, am I going to do this, am I going to do this? I talked about in the last stream also, am I going to bring Kelsier back or not? That's a branching point that changes a lot about the future of the narrative. Which of the two paths am I going to walk? So this is something that I'm just very used to in storytelling.

There were some of those in The Wheel of Time. They weren't necessarily the same way. I won't give specifics because we're not spoiling, but there were things where I'm like, I think we'll do this, and then I got to the third one and I'm like, no we can't do that, we gotta rebuild this part from scratch because it just no longer works.

Phantine

Have you seen the Deep Forger?

https://twitter.com/DeepForger

It seems like once the processing time comes down a bit, it'll be a pretty powerful tool for doing concept art and rough outlines, but I'm not really into the illustrating business. What are your thoughts on it?

Ben McSweeney

It's pretty neat, but it's worth noting that what Deep Forger does is create an approximation based on certain distinct styles of painting, and then applies that effect to a photograph. It's not doing anything particularly creative, it can't produce a Monet or a Picasso from scratch, without input. And from looking at the samples, it seems that most of the time the photographic source origins are still pretty clear. Sorta the same way rotoscoping rarely fools anyone into thinking it's hand-keyed animation.

That being said, I'm often impressed by what I see people doing with Zbrush and other 3D sculpting software and then applying the right lighting and render techniques to create some very illustrated results. The trick is that it often takes as long (or longer) to produce content that way as opposed to illustrating it traditionally. The advantage is that you can often do a LOT more with a well-sculpted 3D model, even when it's a static object.

I don't feel that traditional illustration as a craft is particularly at threat, because the real value in an illustrator isn't in the skills their hands produce but in the brains that come up with ideas and new applications and twists, and that's some next-level AI stuff.

Digital painting has totally changed the landscape in which we work, but it hasn't changed the heart of the illustrator... just the tools. As such, we'll always be using the most effective and efficient tools that we can, but the fundamentals that lie beyond tools and techniques haven't changed much.

Phantine

Yeah, I guess my real question is more along the lines of 'does this seem like it'll be a useful tool, and where would that fit in your normal workflow?'

Ben McSweeney

I don't think it'd fit in the workflow of what I do... I could perhaps see some potential for it to serve as a method for creating photobash assets that would more easily merge with a larger painting (like serving as a method for creating backgrounds, if you have the right location or can dress a set), but part of the weakness of something like Deep Forger is that it requires an existing image to manipulate.

A huge part of what I do is visualize and illustrate things that don't exist, and often can't exist in the physical world. I can source reference and I do, pulling ideas from here and there to flesh out the kernel of a concept, but ultimately I don't have anything more than description and design mandates to build from... and that's something a computer can't quite do yet. Someday... maybe.

Brandon Sanderson

Chapter Fifty-Six

This chapter begins with an interesting scene. There's already a bit of tension between Sarene and Raoden. Nothing big, of course–but I think it's realistic. People don't always agree. Loving someone doesn't change the fact that you sometimes think what they're doing is flat-out dumb. It does, however, tend to change your reactions. And so, Sarene acknowledges that Raoden is acting like a king, not a friend, and lets the matter drop.

This highlights a difference between the two of them that I have pointed out earlier. Sarene was not raised to rule–Raoden was. That lifetime of preparation has changed the way Raoden sees things; it has made him look at everything in the light of how it effects his people. Actually, there is no "Raoden the man" separate from "Raoden the ruler." They're tightly integrated.

WeiryWriter

Every day in Kasitor, Cusicesh emerges from the bay at 7:46 in the morning. If the Iriali started practicing daylight savings time, would Cusicesh emerge at the old 7:46 or the new? Would it make a difference if all of Roshar was changing?

Brandon Sanderson

They would not change their time based on the clocks being changed.

Questioner

You sold the rights for Mistborn for a movie, right? How is that coming along?

Brandon Sanderson

I have had no major updates, I'm afraid. You know, I really like the script. They're pitching it in Hollywood. They're good guys, the producers are. The script is really awesome and is pretty faithful. It's adapted in the ways that adaptations need to happen. Like it's really cool, like the beginning they did this thing where they said, "You know, we really need to focus the movie on Vin, so the opening needs to be on Vin instead of Kelsier." Which is a really good move for a movie like that that's got such a shorter length of time. So, you know, they start with Vin and Reen, actually. And you know, Vin being part of a heist that goes wrong, with her brother, and things like this. And you know, there's changes like that that thematically, you know, are the same concept as the book but then work really much better in the only two hour block that you have. Then Kelsier is a mysterious figure who invites her in and recruits her into the team, which works much better in that format. So there's changes like that.

There's this really cool prologue where they start the prologue with the march up the mountain toward the Well of Ascension, a thousand years ago and an interaction there that changes into a stained glass window and then you see stained glass windows of the interim periods until you hit the Final Empire. So there's some really awesome stuff.

So, we'll see if this actually ends up working or not. Again, if your father is the owner of Warner Brothers, go and put in a good word for me. We're kind of long shots because all we are is an author and several producers who have no major credits to their name. And I sold it to them specifically because- you know, I sold Alcatraz to Dreamworks for a lot of money and then I just had to like say goodbye to the project and I like what they did with it but it was basically they took the project. And I, for Mistborn, wanted to have more control which also means my chances of actually getting it made go down quite dramatically. Ask Orson Scott Card how long it took to get made Ender's Game made and you will see the same sort of thing, but then he's getting it made his way, eventually. So that's what I'd like to do with Mistborn if I have that option.

Marc Aplin

Okay, so Way of Kings...the people who don't know the background, I'll just give you a little bit. The book was written actually before pretty much anything else of Brandon's was published. I think it was 2002, 2003 he finished it. Obviously he went on to publish Elantris, Warbreaker...Mistborn as well, of course. And the Wheel of Time books. Has his experiences with these other books changed the way that he sees the Stormlight series continuing from this point?

Brandon Sanderson

When I finished Way of Kings the first time in 2002, it wasn't ready yet. And I knew...when I finished it, I knew something was wrong. My skill wasn't up to writing a book of this length yet. I was very proud of it, but proud in the way that, you know, someone who finished their first marathon but with a horrible time would be proud of having run that marathon; and I knew I needed to get better as a writer before I could actually do it justice. And so, yes, it's evolved. There were flaws in the original book. The character of Kaladin was just boring, in the first write of it. Dalinar stayed about the same. Dalinar's plot changed the least, and who he was changed the least. But both Shallan and Kaladin had deep flaws in how I had written them, and I just wasn't...I wasn't creating characters deep enough yet. And so I set it aside, partially because I knew I needed to get better as writer. When I wrote it again in 2008—actually it was 2009, I think—I started over from scratch. I threw away everything and did it again. And my skill had increased by that point to the point that I could do it justice, I think.

Questioner

How much does the story change as you write it? I know you're an outliner, but how much does it change?

Brandon Sanderson

A great deal. I'd say 40% of it changes, 60% stays the same.

EHyde

And, how were the Radiants able to summon their Shardblades at the Recreance if they'd already decided to break their oaths?

Brandon Sanderson

Their Shardblades are part of what brought them to—part of the Oathpact—but breaking the Oathpact did not affect their ability to bond or unbond Shardblades.

cinderwild2323

What is the biggest change you've made based on alpha/beta reader feedback? (This goes for any of your books)

Brandon Sanderson

Probably adding Adolin as a main viewpoint character in the first book, which was done because I had trouble striking the balance between Dalinar worrying he was mad, and being a proactive, confident character. Worried better to externalize some of the, "Am I mad" into his son worrying "My dad has gone crazy" while letting Dalinar be more confident that his visions were something important. (I still let him worry a little, of course, but in the original draft, he felt temperamental from vacillation between these two extremes.)

Bringing Adolin to the forefront in the books has had a huge ripple effect through them, as I've been very fond of how his character has been playing out.

Enasor

May I ask why you choose to use Adolin as the viewpoint character to supplement Dalinar as opposed to Renarin? My understanding is Renarin has always been the "most important brother" within SA, which made me wonder why, based on the beta readers comments, you ultimately decided to use Adolin and not your established character to bring forward the dilemma.

I am, obviously, extremely fond of how Adolin has been played out so far and while I have no idea where he is going (but zillions of theories), I am curious to know what his initial purpose in the story was. Did you draft the character's personality just for WoK's needs or did you have an idea of what to do with him when you made the change?

Brandon Sanderson

I was well aware that I needed certain things about Renarin to remain off-screen until later books, and him being a viewpoint character early would undermine these later books.

Adolin is a happy surprise and works exactly because he doesn't need to be at the forefront, even after I boosted his role. With Adolin, what you see is really what you get, which is refreshing in the books--but it also means I don't need huge numbers of pages to characterize him, delve into his backstory, etc. He works as a side character who gives more to the story than he demands pages to fullfill that giving, if that makes sense. Renarin is more like a pandora's box. Open him up, and we're committed to a LOT of pages. (Good pages, but that was the problem with TWOK Prime--everyone was demanding so many pages, from Renarn, to Jasnah, to Kaladin, to Taln, that none of their stories could progress.)

Adolin has basically always had the same personality, from TWOK Prime, through the original draft of the published TWOK, to the revision. The changes to making him more strong a viewpoint character were very natural, and he has remained basically the same person all along--just with an increased role in the story, and more development because of it.

I do discovery write character, usually, as a method of keeping the books from becoming slaves to their outlines. This means that Adolin has gone some new directions, but it's been a growth from the person he was in TWOK Prime. (Which you'll be able to see when I release it, sometime in the hopefully not distant future.)

Shuaroo

Have I gone crazy or did he misspell Kal's mom's name twice [in the Stormlight Four preview chapter]? It's Hesina, is it not? But its listed as Hessica twice.

Brandon Sanderson

Yeah, I always write her name the way it was in 1.0 of the first book, not the place one I changed it (to be more in line with Alethi naming conventions.) So Karen or Peter always have to go through and change it several times for me.

At least I've stopped writing tin as silver these days. Whatever I do in the first draft tends to get embedded into my muscle memory as far as names.

Sharuu

Ha! I figured it was something like that, but started getting paranoid that I completely misremembered anyway. Besides, I imagine that, especially writing at the speed you do, it's easy to overlook the smaller details.

Brandon Sanderson

It's also something about the way my brain works. I still have trouble writing Galladon instead of Galarion, which was his original name. Often, near the end of a book, I'm making tweaks to get the languages and naming more consistent--and some names just don't fit any longer. But my brain rarely wants to accept the changes. (Notably, though, I took easily to Kaladin--who was originally named something else, but a name I never really liked.)

Protaokper

Huh! Sorry if you’ve answered this before, but what was Kaladin’s original name?

Brandon Sanderson

Merin. I know. In my defense, it fit the linguistics at the time.

Brandon Sanderson

THIS APPLIES TO FANTASY

Before postmodern literature can start appearing in a genre (and therefore, before deconstructionists can start pointing out the irony inherent in that postmodern literature) you need to have a body of work with dominant themes and concepts. You need an audience familiar enough with those themes to recognize when they are being molded, changed, and built upon.

Fantasy (and the epic in particular) hit a postmodern stage with remarkable speed. Tolkien was so remarkably dominant, so genre-changing, that reactions to him began immediately. And, since so much of the audience was familiar with his tropes (to the point that they quickly became expected parts of the genre), it was easy to build upon his work and change it. You could also argue that the Campbellian monomyth (awareness of which was injected into the veins of pop culture by George Lucas) was so strong in sf/f that we were well prepared for our postmodern era to hit. Indeed, by the late ’70s, the first major postmodern Tolkienesque fantasy epic had already begun. (In the form of the Chronicles of Thomas Covenant, the Unbeliever.)

During my early years writing, I mixed a lot with other aspiring fantasy novelists. A great number of us had grown up reading the Tolkien- reaction books. Brooks, Eddings, Williams, Jordan. You might call us of the rising generation Tolkien’s grandchildren. (Some of you may have heard me call him, affectionately, “Grandpa Tolkien” when I talk about him, which is an affectation I think I got from a David Eddings interview I once read.) A lot of my generation of writers, then, were ready for the next stage of fantasy epics. The “new wave,” so to speak.

During those years, I read and heard a lot of talk about “taking the next step” in fantasy. Or, “making the genre our own.” It seems that everyone I talked to had their own spin on how they were going to revolutionize the genre with their brilliant twist on the fantasy epic. Unfortunately, a lot of us were a little unambitious in our twists. (“My elves are short, rather than tall!” or “I’m going to make orcs a noble warrior culture, not just a group of evil, thoughtless monsters!”) Our hearts were good; our methods were problematic. I remember growing dissatisfied with this (specifically with my own writing, which was going through some of the same not-so-original originality problems), though I couldn’t ever define quite why.

I think I have a better read on it now. It has to do with a particular explanation one writer gave when talking about his story. It went something like this: “Well, it starts out like every other ‘farmboy saves the world’ fantasy novel. You know, the plucky sidekick rogue, the gang of unlikely woodsmen who go on a quest to find the magic sword. But it’s not going to end like that. I’m going to twist it about, make it my own! At the three-quarter mark, the book becomes something else entirely, and I’ll play off all those expectations! The reader will realize it’s not just another Tolkienesque fantasy. It’s something new and original.”

There’s a problem in there. Can you spot it?

Here’s the way I see it. That book is going to disappoint almost everyone. The crowd who is searching for something more innovative will pick up the book, read the beginning, and grow bored because of how familiar the book seems. They’ll never get to the part where you’re new and original because of how strongly the book is relying upon the thing it is (supposedly) denying. And yet, the people who pick up your book and like it for its resonant, classical feel have a strong probability of growing upset with the novel when it breaks so solidly out of its mold at the end. In a way, that breaks the promise of the first three-quarters of the book.

In short, you’re either going to bore people with the bulk of the book or you’re going to make them hate your ending.

That’s a tough pill to swallow. I could be completely wrong about it; I frequently am. After all, I’ve often said that good writing defies expectations. (Or, more accurately, breaks your expectations while fulfilling them in ways you didn’t know you wanted. You have to replace what they thought they wanted with something so much more awesome that they are surprised and thrilled at the same time.) But I think that the above scenario exposes one of the big problems with postmodern literature. Just as Jewel’s music video is likely to turn off—because of the sexual imagery—people who might have agreed with its message, the above story seems likely to turn away the very people who would have appreciated it most.

Marc Aplin

Okay. So The Way of Kings. The question that we had from the forum: Is The Way of Kings the rediscovery of old magic or the invention of new technology? Or maybe a combination of both. Could you elaborate?

Brandon Sanderson

That's an excellent question—somebody's been reading my mind. First, I do want to say, thank you, guys, all, for reading the books; thank you for all you're doing supporting me as a writer. With this series, one of things I wanted to approach was...both of those concepts, actually. A lot of fantasy has the feel of magic's going away. Magic is dying. This goes back to Tolkien, with the idea that, you know, the elves are leaving and magic is going to leave the world, and that's always made me a little bit sad, that these books have this theme. And so I did want to write a book about the return of magic. But beyond that, I'm very fascinated with technology, and the development of technology, particularly as it relates to magic. And so this series is about the rediscovery of magic and how magic interacts with science, and the treating of magic in a scientific way on a large scale. You know, you see that in each of my books, with magic being treated scientifically, but I really wanted to do it in a way that changes the lives of everyone. The common people—magic changes their lives as much as technology changed the lives of the common people in the technological revolution we went under. And so that's what I'm going to try to approach in these books.

Questioner

My question was, have you ever written a scene and had it published and then wanted to change one of your scenes?

Brandon Sanderson

Yes, I have. There have been a couple of them. There's one at the end of Words of Radiance, when it came time for the paperback I reverted to a previous version of the scene. So yeah you guys will see that when the paperback comes out. One of the ending scenes-- It's a very minor tweak but I had done like four different drafts of this scene and I didn't like the one we ended up with. Even immediately after we sent it in I was like "No that's the wrong one". So we reverted.

Questioner

Will you post that online?

Brandon Sanderson

Yeah, I'll post that online when the book comes out. I'll be like "By the way guys, Warning. There's a change here."

Bystander

The internet will freak out.

Brandon Sanderson

Yeah. The other thing is the ending of Elantris, the spatial-ness of it, and things, I got some of the math wrong. I didn't have Peter back then. And so now that we are doing a 10th anniversary edition I actually had Peter and Isaac, who does all the maps, get together, work out the actual math. The size of the city, the size of the continent, and all this stuff and Isaac's doing a new map and we are changing the text to now match that map. So for instance where it says something is in the original text it will actually move now that we have an actual real map, rather than my MS Paint thing that I was using 'cause you know me and maps. So yeah you nodded, there are a lot of mathematical-- just problems. We've got the new map now and it all works. So I'm glad that it all actually works, once you get the math right. But like the number of steps is way off at the end of that one for instance.

*To Argent/Kurkistan* Have you guys figured that out? Like it makes the size of the planet stupidly big.

Argent

When is that coming out by the way?

Brandon Sanderson

I'm not sure, we just have to see when we turn it in. I think maybe later this year. Maybe early next year. I wouldn't be surprised if they tried to get it out with one of the Mistborn books, at around the same time.

Aethy

Aether of Night was cannibalized; it's no longer going to be released. Apparently some of the concepts were taken and worked into other books, so it's no longer publishable.

Peter Ahlstrom

Actually it might be un-cannibalized. Some concepts went into Liar of Partinel, but now that book won't ever happen in that form. So there could still be one or more Aether books in the future. But it would be a ground-up rewrite like happened with Mistborn and Stormlight.

WeiryWriter

Wait, really? That's pretty big news, even just possibility of it happening. I presume the Shards of the world would change then? Since Decay got reworked to be Ruin and such?

Peter Ahlstrom

Yeah, Decay is essentially Ruin, so lots of things would change there. But the magic of the Aethers, especially, could get their own book later.

There is a reason that Aethers are already canon. I don't think anyone has figured that out yet. But the backstory Brandon gives them could change in the future, or could end up never materializing.

Comatose

In Lost Metal, you had Marasi ultimately reject Kelsier’s offer of joining the Ghostbloods, and I think that's a decision we've seen some division on with the fans. So I'm curious, what’s your analysis and thoughts on that? Because it was an interesting and fun character choice.

Brandon Sanderson

Yeah, I'm not surprised there's some division of fans; there was division among the beta readers on this. And there is even—like, I, as I was writing the book, left myself the option to have her join if I wanted her to. I didn't lock myself in in that part of the outline.

My instinct was this isn't a good place for her. And so why…? And then when I got to the end am like, no, this isn't a good place for her. So, you know, Marasi’s journey through the books has been, "how do I change the world?", "how much am I interested in changing the world?", and "how much do I change the world?". Kind of in conversation with the dreams that she had as a younger person and the reality that she's now living?

And one of the things I wanted to deal with in this book was this idea that she is kind of worried that she's just— she's becoming a cop, with all that that entails, right? That there's a culture to that and whatnot. And should she be doing more? And all of that. And so that did lead a lot toward the whole Ghostbloods thing, right? And I expected a lot of people to be like, "Oh, yeah, well, here's the easy answer."

The problem is Kelsier is just such a terrible match to Marasi, right? Like personality-wise, you know, Kelsier is about the shadows. He honestly believes that if all the information were known that it would be worse for the world. He can share it in a small group. And he's got this sort of "I need to take care of people and I need to do it my way" sort of philosophy, which is really antithetical to somebody like Marasi, who, you know, her whole thing is "we need to be better as a society, not as individuals, and we need to be—". And so I at the end decided this is just a really bad place for her, right?

But she needed a place. Actually, the first draft of the book, I didn't have her make the decision to go into politics. She had rejected politics in the first book, right? She’s like, "I'm not going that way, that’s not that's not for me." And I went double back on that. I'm like, no, this is probably the right route for her, which is nice because like, it it kind of snapped together for me at that point when I did the revision to be like, no, she does need something. If she's going to turn down Kelsier, she needs something.

You know, you will have some fun in Era 3. Era 3, I don't know…? I warned you I might spoil unwritten books… Have I said this? I might have said this—you guys will know—Era 3’s working title for the series is Ghostbloods, right? And so like you know Mistborn: Ghostbloods is what Era 3 is going to be called, most likely. So if you were sad, well, just remember if Marasi joined the Ghostbloods we're still skipping decades. You would not have been able to see her as a member of the Ghostbloods. But that's what the name of the next series is going to be.

Questioner

Do you know who Phineas Gage is?

Brandon Sanderson

No.

Questioner

Okay, so he was a miner and had an iron rod shoot through his head...

Brandon Sanderson

Oh yeah, yeah, yeah…

Questioner

...and it changed his personality and stuff.

Brandon Sanderson

Yeah, I have read about that.

Questioner

So if like consciousness and personality can exist independently of a body, if something like that happened to somebody in the cosmere would it change their personality?

Brandon Sanderson

It would change their personality. Unless it were a hemalurgic spike but then that does usually twist you as well. Yes it still would. In the Cosmere most of these things will work the same way, because the body’s interpreting what’s going on.

ArgentSun

If Rysn's Dawnshard is about Change or Remaking or something like, how do we refer to it? The Dawnshard of Change? The Change Dawnshard? I am asking purely from a semantic standpoint.

Brandon Sanderson

I haven't honestly decided yet, Argent. I am playing with several themes for the Dawnshards even still.

David-El

It seemed from the way the mural was done in the book that you were implying that there are four Dawnshards, one for each four of the shards, considering the sun was split in four, then each quadrant was then further split into four more.

Brandon Sanderson

RAFO, I'm afraid. As I said somewhere else, this was written as it was deliberately--but also somewhat vague on purpose.

Brandon Sanderson

Folks,

I've turned my full attention back to this book, and have done a heavy rewrite of Chapter One, which helped me pound out who Midius is (in my mind at least.)  You can see the effect your comments had.  Here's the new version.  As always, comments are welcome!

Brandon Sanderson

All, here's an experimental change I'm considering for the Theus chapters (and note the new Midius chapter at the bottom of the previous page.) I think this may soften the brutality somewhat, even though it's all still there. It will make for a drastic change in feel for the king as a character, but I'm very tempted to do this instead. Reactions?

NEW CHAPTER TWO BEGINNING

It’s a bad day to kill, Theusa thought. Too cloudy. A man should be able to see the sun when he dies, feel the warmth on his skin one last time.

She marched down the dusty path, crops to her right and left, guards behind her. The men of her personal guard wore woolen cloaks over bronze breastplates. Bronze. So expensive. What farming supplies could she have traded for instead of the valuable metal armor?

And yet, she really had no choice. The armor meant something. Strength. Power. She needed to show both.

Several of the soldiers pulled their cloaks tight against the morning’s spring chill. Theusa herself wore a woolen dress and shawl, the copper crown on her head the only real indication of her station. King. It had been twenty-some years since anyone had dared question her right to that title. In the open, at least.

Her breath puffed in front of her, and she pulled her shawl close. I’m getting old, she thought with annoyance.

Behind her towered the grand city state of Partinel, circled entirely--lake and all--by a rough stone wall reaching some fifteen feet high. The wall had been commissioned, then finished, by Yornes the grand, her father-in-law. She’d married his son, Didarion, in her twenty-third year of life.

Didarion been a short time later. That had been almost thirty years ago, now.

Old indeed, Theusa thought, passing out of the ring of crops. Partinel’s trune ring was one of the largest in the Cluster, but it still provided a relatively small area in which to grow food. They grew right up to the edge of the city wall in a full circle around the city. Running in a loop around them was a narrow, earthen road. Beyond that, a wide patch of carefully-watched and cultivated walnut trees ran around the city. Her people cut down one group of trees every year and planted a new patch. It was a good system, giving them both hardwood for trade and nuts for food. In the Cluster, no land could be wasted.

Because beyond the trees, the land became white. The walnuts stands marked the border, the edge of Partinel’s trune ring and the beginning of fainlands.

Theusa could see the fain forest through a patch of walnut saplings. She paused, looking out at the hostile, bleached landscape. Bone white trees, with colorless undergrowth twisting and creeping around the trunks. White leaves fluttered in the breeze, sometimes passing into the trune ring, dusted with a prickly white fungus.

Skullmoss, the herald of all fain life. Her soldiers and workers gathered the leaves anyway and burned them, though it wasn’t really nessissary. Though eating something fain--animal or plant--was deadly to a human, simple interaction with it was not. Besides, fain life, even the skullmoss, could not live inside of a trune ring.

That’s how it had always been. White trees beyond the border, trune life within. People could go out into the fainlands--there was no real danger, for skullmoss couldn’t corrupt a living creature. Some brave cities even used fain trees for lumber, though Theusa had never dared.

She shivered, turning away from the fain forest and turning to where a group of soldiers--with leather vests and skirts--stood guarding a few huddled people. The prisoners included one man, his wife, and two children. All knelt in the dirt, wearing linen smocks tied with sashes.

The father looked up as Theusa approached, and his eyes widened. Her reputation preceded her. The Bear of Partinel, some called her: a stocky, square-faced woman with graying hair. Theusa walked up to the kneeling father, then bent down on one knee, regarding the man.

The peasant had a face covered in dirt, but his sandaled feet were a dusty white. Skullmoss. Theusa avoided touching the dust, though it should be unable to infect anything within a trune ring. She studied the man for a time, reading the pain and fear in his face. He lowered his eyes beneath the scruitiny.

“Everyone has a place, young man,” she finally said.

The outsider glanced back up.

“The people of this city,” Theusa continued, “they belong here. They work these crops, hauling water from the stormsea to the troughs. Their fathers bled to build and defend that wall. They were born here. They will die here. They are mine.”

“I can work, lady,” the man whispered. “I can grow food, build walls, and fight.”

Theusa shook her head. “That’s not your place, I’m afraid. Our men wait upon drawn lots for the right to work the fields and gain a little extra for their families. There is no room for you. You know this.”

“Please,” the man said. He tried to move forward, but one of the soldiers had his hand on the man’s shoulder, holding him down.

Theusa stood. Jend, faithful as always, waited at the head of her soldiers. He handed Theusa a small sack. She judged the weight, feeling the kernels of grain through the canvas, then tossed it to the ground before the outsider. The man looked confused.

“Take it,” Theusa said. “Go find a spot of ground that the fainlands have relinquished, try to live there as a chance cropper.”

“The moss is everywhere lately,” the man said. “If clearings open up, they are gone before the next season begins.”

“Then boil the grain and use it to sustain you as you find your way to Rens,” Theusa said. “They take in outsiders. I don’t care. Just take the sack and go.”

The man reached out a careful hand, accepting the grain. His family watched, silent, yet obviously confused. This was the Bear of Partinel? A woman who would give free grain to those who tried to sneak into her city? What of the rumors?

“Thank you, lady,” the man whispered.

Theusa nodded, then looked to Jend. “Kill the woman.”

“Wha--” the outsider got halfway through the word before Jend unsheathed his bronze gladius and rammed it into the stomach of the kneeling outsider woman. She gasped in shock, and her husband screamed, trying to get to her. The guards held him firmly as Jend pulled the sword free, then he cut at the woman’s neck. The weapon got lodged in the vertebrae, and it took him three hacks to get the head free. Even so, the execution was over in just a few heartbeats.

The outsider continued to scream. Theusa stooped down again--just out of the man’s reach--blood trickling across the packed earth in front of her. One of the guards slapped the outsider, interrupting his yells.

“I am sorry to do this,” Theusa said. “Though I doubt you care how I feel. You must understand, however. Everyone has a place. The people of this city, they are mine--and my place is to look after them.”

The outsider hissed curses at her. His children--the boy a young teen, the girl perhaps a few years younger--were sobbing at the sight of their mother’s death.

“You knew the penalty for trying to sneak into my city,” Theusa said softly. “Everyone does. Try it again, and my men will find the rest of your family--wherever you’ve left them--and kill them.”

Then, she stood, leaving the screaming peasant behind to yell himself ragged. Theusa’s personal guards moved behind her as she returned to the corridor through the wheat, Jend cleaning his gladius and sheathing it. Over the tops of the green spring plants, Theusa could see a man waiting for her before the city.

(Edit, cleaned up language.)

Brandon Sanderson

Thanks for the comments, folks.  A new version has been uploaded, mostly making minor tweaks as suggested by db.  Some good points, and the prose needed streamlining.

Dawn:

For some reason, this just feels less brutal to me.  Theusa's language is softer than Theus's had been, and I think more reasonable.  Still brutal, yet somehow it works better for me.  That might just be because I've seen (and written) too many characters that feel like Theus, and changing the character to a female (who's a bit older, and who is arguably the legitimate ruler of the city) makes them feel a lot more exciting to write. 

Gruff, Gritty, Male solder king: Feels overdone.

Gruff, gritty, grandmother king: Not so much.

I know it's more about how well the character is done, and less about whether it's been done before or not.  However, excitement on my part seems to make for a better story over-all.  So, I'm wondering if this character will be more exciting for me this way, or just much more trouble.  (I'll have to think of what to do for the next Theus chapter, for instance.  I really liked the fight there, and I can't really put Theusa in the same role.)

Brandon Sanderson

DavidB

There are, unfortunately, reasons why I have to start the book where I did.  I can't get into it without major spoilers.  You are perfectly right about this chapter lacking a hook, which is why I decided from the get-go that I'd need to start with a scene from the middle of the book, then jump back. 

So, this chapter should be considered the SECOND, and not the one that introduces Midius's character. 

My goal is to try some new things with this book.  Who knows if it will work, but they will present narrative challenges for me, because even when we flash back, we're starting in the middle of a story, with Hoid already dead.

Brandon Sanderson

I'll admit, I'm really torn on this one.  I can't quite decide which way to go.  The thing is, I've been thinking about the characters so much that they're both--Theus and Theusa--now formed in my head.  I know their motivations and their feelings, but I can only use one of them.  

With Theus I gain the ability to have he, himself fight.  I can show him with his family, which could really round out his character.  Yet, I worry that he's too similar to other characters I've written.  (Cett and Straff both come to mind from the Mistborn trilogy, though neither of them are as rounded, as well as Iadon from Elantris.  I've done a lot of brutal rulers.)   

With Thesua, I lose the two things I mentioned above.  I couldn't soften her by showing a spouse and children, and while she'd still have a daughter, I don't see the child being as much of an influence on reader opinion.  And, there would be less action in the book by a slight amount as Theusa will not be a warrior, and will have to rely on Jend to do her combat.   

However, I gain a tad of originality.  (How many tyrant grandmother city-state rulers are there in fiction?  Have to be fewer than men like Theus.)  I also gain some subtlety--Theusa's rule would be much more tenuous, because of her gender, and there would be a lot of politics working against her.   

Both would play off of Yunmi very well, if for different reasons.  Midius's interactions lean slightly toward me liking Theus, but not a huge amount.   

I keep going back and forth on this one.  So, I'll put off the decision until tomorrow and write a Yunmi chapter instead.  Huzzah!

Brandon Sanderson

After much playing with the plot and wrangling, I've decided to go with the male version of the character.  The new Midius chapter is here to stay, however.

I'll just have to do the old grandma tyrant king in some other book. 

Matthew

One big thing in epic fantasy books that I find too hard to swallow: nobody has the same name.

Brandon Sanderson

This is for convenience's sake. I've actually done it where I used the same name before. It gets so confusing to readers. So confusing. In fact, when I do it on purpose, my editors usually change it, because it is so confusing.

Like, in Stormlight, what I'll end up doing, is I'll say, there are core names. Kaladin's name is based off Kalak, the Herald. You've got two characters basically with the same name, where one is based off the other. Kaladin's name is the Rosharan's version of, like Matthew. There is this saint: this Herald. But the way I do it so that we don't get too confused is I change each one a little bit. Kaladin is their version of Matthew. Shallan is their version of Mary. She's named after Shallash. So you'll see a lot of Shalla- names and Kala- names. And, as we had earlier, we have Ishikk, who's named after Ishi. You'll have a lot of Ishi- names. This is my acknowledgement to you that, in a real fantasy world, more of them would probably have a lot of duplicate names, like we have now.

Granted, there are cultures where there are much fewer duplicate names than exist in, say, English and Chinese and things, where a lot of duplicate names are used. But you are noticing a correct thing, and I just have to say, for writing convenience, this is one of those things where fiction has to be stranger than truth. Because otherwise it just gets so confusing.

But I bet you could write a book where you did it, it was a plot feature, that a lot of people have the same name, that you could make it work.

You've requested a couple of characters in Stormlight that have the same name. Well, I've done that... kind of. That's about as close as we'll get. I do have some minor characters that I'll use the same name for. But like I said, my continuity editor really, really, really likes it when I don't do that, and asks me to change them.

It is fun that you noticed this, because this is one of those things ('cause I love linguistics) that I notice a lot. And I'm like, "Is there a way around this?" And I try to find ways that work both for the convenience of telling stories, but also work for worldbuilding realism. Maybe I'll put two characters of the same name in just for you in the future. We'll see.

Brandon Sanderson

I worry just a tad about the light-hearted feel of the end of the chapter here. Originally, this scene was in the book BEFORE the army showed up to attack. In the original draft I showed Elend and company living (and fighting off assassins) without knowing that an army was bearing down on them. Moving the army so that it began the book on the horizon was the major pacing change I made that sped up the book, and increased the tension.

However, we missed a few of the more light scenes–like the upcoming sparring–and I didn't want to cut them because they were so indicative of character. I decided to leave them in. Kelsier's crew is accustomed to dealing with stress and remaining jovial. The only change I really had to make was in the Elend viewpoints, which you will see in the next chapter. Still, I hope the tone isn't off–that's a real worry when you transplant scenes from a previous draft, as opposed to writing them new when you change as much as I did at the beginning here.

Questioner

I don’t know if this question will come out right...is there a difference between being an author that works for Tor and an author that Tor works for?

Brandon Sanderson

Yes. Most authors, you'll find, are actually independent businesspeople who license their books to a publisher for various languages, and so I don't actually work for Tor. Now, Tor and I get along really well, and they've done very well by me, but I've also done very well by them, and so we have a very good working relationship. But actually I, as a businessperson, license them the books, and that means that I control all the characters, they can't insert or change anything without my approval—they can't even change commas without my approval—and that's the way it goes for most people. Now, everything outside the cover I have is theirs, their packaging, so that's why authors don't get a lot of say in cover and things, because the marketing copy on the cover, the picture and stuff, that's the publisher's. They license the works. So, there is a difference. There are some authors who will do a work-for-hire sort of thing, like I did with the Wheel of Time. I work for Harriet on the Wheel of Time. I am employed by her. It's a very good contract—I mean, she was very awesome to me—but at the end of the day, I am an employee working for her, a contractor working for her, and in that case, it's a different sort of business relationship.

Rhandric

Have the Bondsmiths ever had a Shardblade? Have any of the Bondsmiths had Shardblades?

Brandon Sanderson

RAFO! Good question. Good question.

333Fred

1. In the part 2 epigraphs of Oathbringer, Michael reads Harmony's letter in Sazed's accent. Is that something you specifically told him to do, or did he figure that out on his own?

2. By that same token, have there been other instances of you telling Michael and Kate "Read this with a specific accent" or "Make something memorable for this momentarily-appearing side character" (Jezrien the beggar comes to mind).

3. In TWoK interlude 1, Michael doesn't read Demoux with the same accent as he did in Mistborn. That leads me to believe that Connection also emulates accent. When Dalinar used Connection to speak with the Azish, did he sound like an Azish speaking Azish, or an Alethi speaking Azish?

4. Finally, this occurred to me as I was typing the previous question: How is Taln understandable to the modern characters of SA? He's been in Damnation for the past 4500 years, and there's been dramatic changes in the writing system. I assume that means similarly dramatic shifts in the spoken language too. I mean, today we can't really understand Old English, and that wasn't even 1 millennium ago. Has the spoken word really not changed that much, or is he using Connection? If he is, do all the heralds use it?

Brandon Sanderson

1.) I believe we warned him.

2.) Yes, though Peter usually makes these calls (he checks with me on a few.) We do need to do this for translations sometimes too (gender an ambiguous-in-English voice, for example.)

3.) We're better at this than we used to be. He probably should have had the same voice there. However, it can vary, depending on how the magic works. For example, Hoid--who is generally using Connection, rather than using languages--sounds like a native speaker. How you use the magic, how you view yourself, and things like that do influence this.

4.) I'm on this one, and will have answers for you eventually. In original drafts of TWOK, back when it was supposed to be a mystery if Taln were a Herald or not, I believe Jasnah used this as evidence that he WASN'T one, actually. Suffice it to say that the Heralds have had to deal with this a lot, over thousands of years...

TheQuentisentialYou

Why does Marasi's memory of the voice of "Death" or Marsh, change? From Alloy of Law to Bands of Mourning chapter 15?

Brandon Sanderson (Part 1/Part 2/Part 3)

This is a thing that drives Peter crazy. My research tells me that people change memories based on expectations and environment.

On occasion, you'll see me having characters miss-quote themselves, or remember events clearly wrong. I do this for realism.

(Though on occasion, it's just a mistake or lapse on my part. Those we fix. The rest drive my editors crazy.)

Rebecca Lovatt

The electricity-based one, is that relating at all to the novella you just put out [Perfect State]?

Brandon Sanderson

No. The electricity one is Dark One. The original idea for the setting for that book is how Nikola Tesla wanted to provide wireless energy to the world, and the experiments he did. I want to have a planet where that is just the natural state of the world. The ground there has an electric current you can harvest; you can set down a lantern on the ground and it will glow, drawing a current up through it into the air or down from the air into the ground. I haven't decided which way it's going to go yet.

Along with that I want to have interesting ecological features. Big toad monsters shoot out a taser tongue, they use spittle that somehow conducts electricity back and forth. Stuff like this. I want to have electricity be my fun theme. The problem with that again is that is very science-based. When I make a big change to the world, like that you can draw an electric current from the ground, then I have to try and figure out the science of how that works.

Rebecca Lovatt

Yeah, especially because you have bodies of water. That seems like it would be fun. You'd suddenly become 10 times more scared of rain.

Brandon Sanderson

Yes, if it rains, lightning is going to happen constantly. So how do we deal with this? I'm tempted to make it not rain, -but then making it not rain is yet another big change, so where do we go there? So that one's got lots of extrapolation to do, but I have some friends who are much better at these physics questions then I am. So I'm going to them, and they are pointing me in the right direction.

TopicCharming2157

Living Shardblades are the physical manifestation of spren. If Moash had used Raboniel's anti-Stormlight charged dagger to stab a spren while in Shardblade form, would it kill the spren? (Like Kaladin forming a Syl shield to guard a stab)

Brandon Sanderson

Physical form of a spren is going to be more resilient to this.

Sandastron

If someone burned atium in the modern era, after Sazed changed things around, would it do the same thing that it did in the previous era?

Brandon Sanderson

Yes it would.

Sandastron

It would? Interesting.

Brandon Sanderson

If you could find some.

Sandastron

If you could find some…

Brandon Sanderson

If it didn’t then Marsh would be dead.

Sandastron

Good point.

Brandon Sanderson

If it changed its powers.

Brandon Sanderson

I'm a little late to this, because of travel/booksigning woes, but I did want to jump in and offer a few things here. As Lyn said above, the AMA isn't often going to be able to dig into details about what was in the original draft--that's the sort of thing we like to keep a little closer to the chest. I'm okay with revealing things like that in the abstract, but having a wholesale "let's reveal plot points in early drafts of books without context" reveal seems like it might be dangerous.

So here, off the top of my head, are some of the things that I changed in the book related to Beta Reader comments. These topics are "open" for discussion--meaning you can ask Betas for more specifics on them, if you feel like it. These were all things I changed specifically because of Beta interaction.

Adolin's viewpoints were added to Part One. As was a quick run-down on Renarin's powers, and what he was learning to do with them.

The romantic angle between Shallan/Adolin/Kaladin was tweaked as I more and more referenced the idea that two different personalities of Shallan's were in love with two different people. IE--moving it further away from a love triangle, and instead showing more clearly that that Shallan was splitting further into multiple people, with different life goals.

This wasn't coming across in the early drafts, though I sometimes coulen't quite tell which responses were knee jerk "Twilight ruined love triangles! Don't do them!" comments and which were "I'm not convinced these four people--counting Shallan as two--are actually working in relationships." (I'll note that I, personally, am very pleased with how this part turned out in the books--but the betas certainly helped me get there. I'd guess that this is one of the more contentious matters of fan discussion about the book. The point of bringing it up here isn't to discredit anyone's feelings about the actual arc, just point out how the betas helped me find the balance I wanted.)

I got a LOT of help from people for writing Shallan's getting drunk scenes.

Slightly beefed up Yelig-nar's part in the plot, as what he did wasn't coming into play enough--and originally (I can't remember if this was a beta thing or an alpha thing) he wasn't as involved in the Amaram/Kaladin fight.

I revised part four heavily, moving the scene where Kaladin runs into our "so very beautiful" friend from Elantris (and the subsequent dip into the Spiritual Realm) from happening in the market to happening in the Lighthouse. Originally, the Lighthouse was run by Cryptics. (Which was a lot of fun.) However, I needed stronger establishment of Kaladin's motivations earlier in Part Four, which was going kind of off-the-rails a little.

Lots more conversation between characters who weren't talking enough in Part Four. (Most specifically Azure.)

There are hundreds more, but those are a few that might be of interest--and I need to be up in three hours to get on a train to go do more signings. Jet lag sure is fun!

Sethcran

Who in-world named the Intents of the Shards? Is it possible that they misinterpreted the name in any case, and that the Intent is not fully in line with the name we know?

Brandon Sanderson

This is possible. Right, this is absolutely possible. I mean you have context for this with Odium kind of claiming that it's not the right name for Odium. Others would disagree, but Odium has tried, aggressively, to change that name. I will say, you could make the argument, well, Odium just is bucking the trend and this is actually who Odium is. It is possible. Which is why Odium would try to get that name changed. These are imperfect definitions of ideas, as most words are. Those ideas could be misinterpreted.

Sethcran

Could a Deception Shard be out there calling itself something else, and none would be the wiser?

Brandon Sanderson

None being the wiser would be real hard. The other Shards knowing but other people not knowing could happen. It would be pretty hard for the Shards to not know, but it is within the realm of possibility. How about that?

Questioner

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

Brandon Sanderson

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

Questioner

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

Brandon Sanderson

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

Chris King

A lot of people wanted clarification on weight in regards to Pushing and Pulling, whether or not it has a direct correlation to the power or if it's just something people say because generally someone heavier is going to Push--

Brandon Sanderson

Right, right. It's more-- I mean, the whole-- If you really dig down into it, and I've talked about this before, the whole mass, weight, Push, and Pull thing gets a little tricky when--particularly when you throw Feruchemy into the mix-- Are we changing mass? Or are we changing what the power of the earth pulling upon you is, and things like this. Generally understand that most people who are talking about this are not speaking in scientific terms and they are speaking in colloquialisms.

Questioner

Were you intending to kill Eshonai off from the beginning of the series, or is that a decision you made later on?

Brandon Sanderson

That was a decision I made later in the outlining process. It was not begun that way, but it became obvious I needed to do it fairly early on. Why?

Questioner

I was just wondering, because as I was reading Way of Kings, a lot of people thought she was going to be a continuing character, maybe even be one of the good guys later on.

Brandon Sanderson

Right. The decision I came to, and it was probably-- Trying to remember exactly when it was. When I came to the decision that Venli was more interesting as a perspective, viewpoint character than her sister was, because we already had characters in the series whose attribute was paragon of their-- This kind of paragon soldier who's trying to do the right thing is well covered in The Stormlight Archive. She was intended originally, but pretty early in the revision process, I decided it needed to go the other direction, 'cause Venli just worked way better as a viewpoint character.

Questioner

Is Eshonai still getting a flashback book?

Brandon Sanderson

Yes, she's still getting a flashback book. I didn't change any of that. In fact, before I even began the series, I knew there were some characters who would not make it to their flashback book, and I wanted to make sure that I made clear that that could happen.

Questioner

You said that before, I was like, I want to hear it.

Brandon Sanderson

Eshonai was intended to continue through, but I changed that pretty quickly, when I realized-- like I said.

Lafona

I assume there are decisions you have to make on the fly while doing the art, so I was wondering: are there any of those that have made it into the lore, and maybe actually made changes to some of the plot elements? If so, what is your favorite thing you added to the story through the illustrations?

Ben McSweeney

Actually, most everything that makes it into the book has been reviewed and discussed and approved, so even the decisions I make on the fly are subject to change.

There's a series of character illustrations that were done early on, for the initial book pitch before the first novel was fully written. When Brandon eventually wrote descriptions for those characters in the text, the illustrations I'd provided played a part in what he wrote, which was wildly gratifying.

Brandon Sanderson

Hey, welcome to the Brandon Sanderson Frequently Asked Questions. We're going to take some of the questions I get the most often and record me answering them on YouTube. And our first one is, "What is the Cosmere?" This is indeed a frequently asked question. Most interviewers ask me this when I begin, though most fans have kind of figured it out by now. The Cosmere is my shared universe of epic fantasy stories. What happened is ... when I was 16-17 and was really getting into science fiction and fantasy, I read Isaac Asimov's later Robot books—later Foundation books, actually—he was combining Foundation with the Robot novels, and it blew my mind. I had never seen anything like this before. Now, granted, Marvel in comics and DC in comics had been doing shared universe for a long time with continuous continuity across multiple books. But in novels, Asimov was the first person I saw do something like this, and it really, really interested me.

Meanwhile, as I'd been reading these books, I really got into Anne McCaffrey's books, one of the very first authors I read, and then I got into Melanie Rawn's books, and then I got into David Eddings, and I got into Tad Williams, and I got into—I was just reading a lot of books. And however my mind works, I started to add my own characters to their books. It's a very weird thing. I've found out that other people do it too. So, I guess it's not individually weird, but we are collectively weird, those of us who do this. I would be reading a book and imagine a backstory to this side character, because I wanted to add something to the book, put something of myself into it, I guess. And then later on I'd pick up a different book by a different author and I'd be like, "Ooh, this side character, that's secretly the same person in disguise." And I started imagining this kind of back story where characters that I had devised were jumping between these different worlds and were having this big adventure behind the scenes where they were slipping in and out of other people's epic fantasy worlds. And I thought that was just really fun. It's something I continued doing all through my teens and 20s as I was reading. I still do this a little bit with games and books I read. I'll rewrite the story to match how I want it to be for me, particularly in video games, which gives me volition over my character. So, I figure I should be able to change what the character says, even if the dialogue option isn't there. My canon version of various video games is very different from the actual canon version.

Regardless, I had this character, Hoid, who was jumping in and out of books. When I started writing my own books in my early 20s, I started adding him as cameos to my books. I wrote 13 novels before I sold one. Book 6, Elantris, is the first one that got published, and it's the first time where I really sat down and said, "You know what? Epic fantasy is really what I want to do. Let's start building something here." And so, I wrote Hoid into that book. Then I wrote a book called Dragonsteel, where I jumped back, and I told his backstory on a different planet. Then I wrote something called Aether of Night a little bit later, where I delved into what had happened to some of those characters on a different planet far, far in the future. And I started building this thing that I called the Cosmere, which was an interconnected world of all these epic fantasy stories that people were moving around behind and jumping in and out of these worlds with different magic systems and different lore, but [which] all had some fundamental rules for the way the magic worked and where all these places had come from.

Well, eventually I sold Elantris, and Hoid was in there as a cameo. And I'd been giving a lot of thought to the Cosmere at that point. So as Elantris was getting published, I sat down and did an outline for the Mistborn trilogy, which I expanded to nine books in the middle of that outline and said, "what if I made this backbone series to the Cosmere", as I was then kind of officially calling it in my head. I went to my editor. I pitched it. I talked about Adonalsium, this god who was shattered long ago and sixteen individuals took up pieces of that god, the intents of the god, like that god's honor, or that god's sense of entropy, which was called Ruin, or things like this, and then went out into the Cosmere and were kind of ruling over these planets, or involved in these planets, or sometimes just lightly touching these planets. These sixteen Shards of Adonalsium, as we call them. And I grew, out of Mistborn and Stormlight, this idea for this large, super mega series, so to speak, behind the scenes.

Part of where this came from was me knowing that, as a new writer, pitching people on something that big was going to be tough. But if I could sell them a standalone novel like Elantris, they would be more likely to try that out, or a standalone trilogy like Mistborn. So, the whole goal was to have this hidden epic behind the scenes. And I wasn't even sure if I was ever going to get the chance to do more with it than just have it be cameos. You'll notice, if you watch for Hoid in the early books, they're just very cameo-ish. He briefly shows up here and there. In Mistborn 3 he's mentioned by name and you see him off in the distance. You don't even talk to him. This is because I wasn't sure if this was going to fly. One of the things that is difficult, particularly about storytelling back in the ‘80s and '90, was that you couldn't always rely on your audience being up to date with everything in the series. You couldn't expect them always to re-read everything. A lot of the books from the ‘80s and ‘90s will take a large chunk at the beginning to try to catch you up to speed in as non-annoying a way as possible. Well, that all changed once the Internet came around, and we were all able to just go look up summaries, or if we forget a character go to the wiki and find about them and things like that, which really is what I believe allowed something like the Marvel Cinematic Universe to actually exist and work, to have this deep and complex continuity.

And I was writing books just by happenstance that was doing all of this at the same time that this became a viable way of telling stories, at least a more viable way of telling stories. And people really latched onto the Cosmere and gave me the opportunity to really launch into it deep, so that there's a lot of interconnectedness growing between the books, as I always dreamed that I wanted to do but I wasn't sure if anyone would go along with me in it. And people have.

So, there's the long version of "What is the Cosmere?". The short version is it is my interconnected world of stories. But the long version is, it is the mega epic hiding behind the scenes, starring characters who make cameos in the other books.

Brandon Sanderson

They say you can’t judge a book by its cover. I’ve always wondered who “They” are, and if—by chance—they’ve never heard of Michael Whelan. Because my experience in life has been very different.

It’s been almost twenty years now since I first discovered Michael’s work. I was fourteen when it happened, and I was not a reader. I’d been handed a succession of novels about young boys living in the wilderness and taking care of their pet dogs. (Which would die by the end of the book.) I disliked reading with a passion. So, when my eighth-grade teacher assigned me to do a book report, I did everything I could to get out of it.

That failed. In fact, it failed so solidly that the teacher—unwilling to let me choose my own book to read, for fear I’d choose something not up my reading level—steered me to the back of the room, where she kept a group of ratty paperbacks to loan out to students. You probably know the type—ripped, stained by spaghetti sauce from cafeteria lunches, pages folded and worn. I was told I had to read one of these and had to do a book report on them—and she’d read them all, so she’d know if I tried to fake it.

Sullen and annoyed, I began to sift through the books. Most looked terrible. I resigned myself to another dead dog story, but then one of the books actually caught my eye. It had this vivid painting of a dragon standing in the mists, a woman held limply in its hand. Dragonsbane, by Barbara Hambly. The painting was so beautiful, so realistic yet imaginative, that I snatched it up, actually a little eager to look through the pages. I ended up taking it home with me.

I read that book in one day. It wasn’t like anything I’d ever tried reading before. (I had never been introduced to fantasy novels.) Dragonsbane was amazing, challenging, imaginative, gripping, and beautiful all wrapped up in one. I remember a severe bout of disappointment upon finishing the book because I thought surely there couldn’t be anything else like it in the entire world.

Still, hopeful, I visited the school library the next day. I looked through the card catalog, and picked the next book—alphabetically by title—after Dragonsbane. It was called Dragonflight, by Anne McCaffrey. I went and pulled it out, and was once again captivated by the cover. I took it home and read it.

My life changed. Now, we throw around sentences like that in writing, using them over and over again until they become as worn as the shoes of a traveling salesman—hardly capable of holding meaning any longer. But let me say it again. My life changed.

I devoured every Anne McCaffrey book in the school library. Suddenly, what I’d discovered in Dragonsbane wasn’t a single, freak event. There was a pattern. If two authors could do this, perhaps there were others. Hungry for more, I went to the bookstore and discovered there was an entire fantasy genre.

There were so many books. Which to choose? Dragons had treated me well so far, so I looked for some dragon books. And there, right on the shelf, was a beautiful book called Dragon Prince. I consumed it, and then everything else Melanie Rawn was writing.

What do these books all share? It wasn’t just the dragons; it was the covers. Each time, there was something dramatic and special about them. I now own prints of Dragonsbane and several of Melanie’s covers. All were painted by Michael Whelan.

By the time Tad Williams’ Dragonbone Chair came out, I could recognize Michael’s art on sight. And I also knew to trust it. It didn’t seem logical—you really shouldn’t be able to judge a book by its cover. But a Whelan cover became a seal of approval to me, a sign that the publisher trusted the book so much that they got the best person available to do the cover.

I can’t tell you all of the authors Whelan’s art led me to over the years: Patricia Mckillip, Joan D. Vinge, Stephen Donaldson, and even Asimov. (Yes, you read that right. I first picked up Asimov because Whelan had done the new Foundation covers.)

I remember when winter 1993 rolled around. My local bookseller noted to me that Whelan had a new art book coming out, one half dedicated to covers, one half dedicated to his fine art. It was the only thing I requested for Christmas, and my parents bought it for me despite the cost. I spent hours leafing through the wonderous, fantastic art. Those imagines sparked things in my mind. I was an author in embryo, absorbing, thinking, dreaming. One of the very first stories I ever wrote was a ‘fanfic’ based on Whelan’s Passage series of fine art prints.

The years have passed. There are other wonderful fantasy artists out there—and, in a way, the market has finally caught up to Whelan (much as the fantasy genre itself needed time to catch up to Tolkien.) I’ve been lucky to have some of those incredible artists paint covers for my books. But I’ve rarely felt as much excitement, wonder, and awe as I did the when I got to open an email and see the cover for The Way of Kings.

Irene Gallo (Tor’s art director) asked me to provide a quote about how I feel having a Whelan cover on one of my books. My editor, Moshe, noted “Surely you’ll mention how it’s a dream come true for both you and your editor.” But 'Dream come true' is another one of those phrases we use so often it has lost its meaning.

How do I really feel? Well, when I was a senior in high school, I was forced to take a life-planning class. In that class, we had to write down ten 'life goals' we wanted to achieve some day. #1 on my list, which I still have somewhere, was “Publish a book someday that is good enough to deserve a Michael Whelan cover.”

It has always been a deep-seated desire of mine to one day have a Whelan painting on one of my works. Without this man’s skill and vision, I might never have discovered the fantasy genre, and I might not be writing novels today.

You might say I’m a little bit pleased.

Brandon Sanderson

Aonic

In the initial stages of Elantris‘ development, Aonic was one of the more difficult elements to construct. The Aons themselves—then still unnamed—were to become a major part of the novel. I wanted all of the Aonic names—including the names of two POV characters—to include references to the language. In addition, the magic system had complex connections with the Aons, influencing their actual forms and design. Furthermore, one of the greatest puzzles in the novel—that of Elantris‘ mysterious fall—was intimately tied to the power and shape of the Aons.

I began looking for sounds and themes. Usually, when I construct a language, I try to develop something with a few basic sound patterns that are easily recognizable. When a reader runs across a name in the book, I want them to be able to instantly determine which country that name came from. However, the names can’t be too similar, otherwise they will become a jumbled mess in the reader’s mind.

So I started, as I often do, with a couple of names. The first one I devised, I believe, was Raoden. The sound “Rao” (both vowels are pronounced in their long form) struck me. One of the things I wanted from Aonic was resonance with ancient classicism. I wanted the reader to reference a culture with a great, majestic history. Golden age Greece or imperial Rome—lands were gods were very real, and were thought to interfere with the workings of mortals. To the modern mind, these cultures bear a weight of age.

Rao. (Pronounced Ray-Oh). I liked the repeated long vowel sounds—they seemed to bear the weight I wanted. From there, I constructed other morphemes. Ene. Ashe. Dio. I started combining these, constructing a language that references modern Japanese with its combination of a natural tongue and imported Chinese characters.

The result was the Aonic language. Each name or word contained an Aon—a two-syllable morpheme that contained two log vowel sounds—and a non-Aon prefix or suffix. Raoden, for instance, contains the Aon ‘Rao’ with the non-Aon suffix ‘den.’ Seon contained the Aon ‘Seo’ with the suffix ‘n.’ The accent in these words is always placed on the Aon.

Then, like any good modern language, I was forced to bend a few rules. The name of the city was very important to the book, as I intended it to be in the title. I played around with several different words, including one that stayed through the entire rough draft of the novel—a word based on the Aon ‘Ado.’

In the end, however, I grew very partial to the word ‘Elantris.’ Again, this was for connotative reasons. It brought to mind ancient cultures without actually being too similar to any names I knew. The word seemed to have mythic import. Unfortunately, it didn’t contain an Aon. In the end, I went with it anyway. Any good language has sound-changes and broken rules. Elantris, therefore, is based off of the Aon ‘Ela,’ which is a very Aonic sound. When combined with its suffix, however, the secondary vowel is weakened—though not completely. When I say the word in my head, the ‘a’ sound is stronger than it probably is to most readers.

The second bent rule references Sarene’s name. Originally, her Aon was ‘Ana,’ with two long ‘a’ sounds. Unfortunately, ana looked too similar to the word ‘anal’ to me. Eventually, I changed her from Sarana to Sarene. Still, in my head, I pronounce this word ‘Sar-Aynay,’ though the Aonic usage of the name would be more appropriately rendered ‘Sar-eenee.’

With the Aonic language finished, I could easily fill in the names of side-characters and places. I threw out a few sounds—there is no ‘u’ sound or ‘th’ sound in Aonic—and from there could construct hundreds of names from Aonic combinations of sounds. I designed a few of the characters for referencing in the book, and the language grew from there.

Questioner

Warbreaker. Any modifications to it to fit it better to Stormlight?

Brandon Sanderson

No, I think that the connections are where I want them to be. We will do, when we do the tenth anniversary leatherbound, we do small continuity error changes and typos, but there shouldn't be any major changes.

Questioner

I was just thinking because of the whole Breath, the colors, and the Stormlight, I'm assuming...

Brandon Sanderson

It is where I want it to be right now, in those relationships.

Questioner

How would the city of Boston change over time in the Cognitive Realm, because its harbors have been constantly filled in with dirt?

Brandon Sanderson

Right, right, right. It will change to match, but there will be a time lapse, right? They'll be lagging behind. 

Questioner

So, you could dump it full of dirt, and then it might take like five or ten years before it actually appears as land.

Brandon Sanderson

Yeah, that's exactly about how it would go.

Questioner

In Rhythm of War, Nightblood broke off a piece of an Honorblade. Could you technically pulverize an Honorblade to the point it wouldn't exist? If so, what would happen?

Brandon Sanderson

You could pulverize an Honorblade to the point that it wouldn't exist. You would basically need to repair it with Investiture, and if you didn't, it would happen, the same thing that happened to Shardplate. You would be making... basically it's changing form. Either you would end up with a bunch of dust made of a God Metal, which you could do stuff with, or you add Investiture and reconstitute it, or you get it to change back into its other states. Those are all possibilities.

Glamdring804

With Adhesion you can use it to either create negative pressure and stick two things together, or you can manipulate to create pressure bubbles around you, like Kal did facing down the storm. Or say with Gravitation, you can either do a Basic Lashing and change the direction gravity is acting on something, or you can do a Reverse Lashing and change the-- and have something with its own gravity field. So I was wondering then, if that is possibly caused by Pushing and Pulling on Surges?

Brandon Sanderson

Yes, that is a legitimate interpretation.