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Can there be a perpendicularity of Odium in Roshar? Or can it only be in Braize? ?
I think the perpendicularity has to be in Braize, but my doubt is in the fact that Odium influences Roshar. If it is not necessary to be "physically" on the planet, shouldn't there be one of Trell also in Scadrial?
Rafo is the answer here, I'm afraid.
Would Odium be pleased if an unsheathed Nightblood was thrown/left in his perpendicularity?
No he would not.
I love writing and it is what I feel I am the best at. When I finish this life, I want to leave behind a positive legacy through writing Fantasy and Science Fiction. Particularly, I would like to write in a way that will lead to greater depth of thought regarding paradigm shifting philosophical questions. I honestly believe that some of the worlds biggest problems are rooted in the rapidly increasing superficiality of thought among societies.
The problems that I encounter the most when I try to write are self-doubt and depression. I find it difficult to actually sit down and begin writing, as I have a bad habit of immediately beginning to over-analyze and over-criticize every word that ends up on the page. Have you ever dealt with similar issues, and if so, how were you able to overcome them?
I always love to get a writing question mixed into these, so thank you! This is actually an extremely common problem for new writers--perhaps the most common. (Though the second most common is the one I had, which is the reverse--that of never wanting to do revision.)
What's happening here is that your ability to recognize good writing has outstripped your actual skill at making it. This can be super frustrating, because you know stories--and you can physically do the act of writing. You've been learning that since grade school. Yet, the story you write doesn't quite live up to it.
Mixed with that is likely an over-critical eye, treating your work like it is worse than it actually is.
I often use this metaphor: I played trumpet in high school. I'd played since fourth grade. Senior year, I took jazz band, and fount it extremely frustrating. I knew how to play trumpet, and I could hear the improv jazz riffs in my head--so why couldn't I make them come out of the horn? Everything I actually managed to produce felt pedestrian at best.
The answer is both mental and procedural. The mental side this this: Recognize that what you're doing right now (by writing) is NOT producing your grand masterwork. It's the equivalent of sitting down in your garage with the trumpet and stumbling through riffs until you start to get that important connection between brain and instrument that lets the vision in your head actually flow unimpeded.
Don't think of this writing as something you're going to sell, any more than you'd tape and record your practice music sessions. Don't think of what you're writing as "wasting" an idea or "failing" at a story--you can and will re-use these story ideas in the future after you figure out your process. Remove the performance anxiety, the need to be great from the get-go, and the expectation that your first draft needs to look like your favorite authors' final, published draft.
As for procedure, try some strategies that work to limit self-revision while writing. Try writing stories longhand, both to separate yourself form computer distractions and to make it harder to revise. Try going to a specific place to write, like an office or library, and treating your hour or two there like work time--a destination for writing. Make good habits, be consistent, and note the things that work on some days to make you achieve your goals.
Good luck!
Can you tell me something about Hoid that nobody really knows?
So, I get asked this enough that I've run out of the easy facts. So usually, I have to RAFO that, just because rattling them off is really hard to do, the random facts ones. I used to be able to 'em, like early, I'm like, "This, that." But now, what do I say that won't be a spoiler? That's not known by anybody?
Let me ask you this. Is Hoid basically collecting these different Investitures from all the different planets?
You have definitely seen him trying to do this on multiple worlds. You have seen evidence of him using Breaths and Allomancy, and you have seen him... do something like Lightweaving that he calls Lightweaving, and you have also seen him try to get AonDor and fail. That's in the extra bonus scene in Elantris.
A while back, you mentioned that if certain circumstances hadn't happened on Taldain, that Taldainians... the people on Taldain probably would've been the first to space. Which interests me greatly, because they don't really have a magic system that is very conducive to faster than light travel.
I didn't say--did I say FTL?
You didn't, that's true, but that doesn't change my question. So my question is, is there a method, other than Allomantic ways and Surgebinding ways, for faster than light, that could be achieved on any minor Shardworld, as long as they have access to Investiture?
Yes, there is, but it depends on if you could get in Shadesmar. You could travel FTL in the Physical Realm through Shadesmar. Basically, just take a spaceship in Shadesmar and travel between Shardpools and you've achieved FTL. Because travel through Shadesmar, you could walk between planets in Shadesmar. So anyone who can get in and out of Shadesmar reliably can FTL. Ways in and out of Shadesmar are very rare, which is extremely limiting, but it is possible.
Breeze and Clubs watch the Army go
This is supposed to feel like everything is falling apart. I like that Elend doesn't see how much danger he's in now that one of the armies is retreating–as clever as Elend is, Clubs is the expert on warfare. Elend is an optimist; he finds it hard to look at the bad side of things. To him, an army leaving is good.
Still, even he knows that they're losing control. A battle is coming, and where it does, Luthadel–and those within it–will be in serious trouble.
You've said that while many of your books are interconnected "behind the scenes", you didn't want to put too much in the books themselves so readers didn't feel like they're missing information (HIGHLY paraphrased). Have your opinions changed on that given the size of your fanbase? When do you expect to have more crossover between worlds (as in major characters or plot points as opposed to cameos and subtle allusions)?
I still think that keeping this to less is going to be better. However, it's going to be tougher and tougher to keep them separate, logically. As the worlds advance and more and more people begin dabbling in crossing planets, the signs will compound. I still intend to keep it from the forefront. There will be an increasing amount of this, however.
If you had a chance to go back for Elantris and the early Mistborn books and stuff like that, would you potentially consider adding more crossover characters, because you did put Hoid in all of those, but would you potentially put other smaller things from other planets, like other worldhoppers, in it?
So, the cheeky answer to this is, I've read The Monkey's Paw, and I've read enough science fiction stories to know that if someone says "Do you want to change this thing about your past?" that you say "No." Because depending on the writer you are either going to end up in a horror story, or you are going to have to learn some lesson about how important you are, or your family is, and then it will all be a dream, so no, I wouldn't.
But really the answer is no, I wouldn't change. I like the fact that the cosmere has a very light touch on those early books. I like it in part because I feel like people who are just getting into my fiction, I don't want them to feel like they have to follow everything to enjoy one book. And yeah, I'm adding little bits more into Stormlight, but that's inevitable because so much will take place in Shadesmar, which by it's nature is far more cosmere-aware, and so we're going to have to do more things the further Stormlight gets and the further Mistborn gets, because it will become inevitable. And that's fine, I'm embracing that. The further we go in the cosmere, the more you're going to have to be on board for the idea of the crossovers working. But I don't want the initial books that you get into to have to be like that. I was very intentional with my light touch on those early cosmere books and I wouldn't go back and add more. Even Way of Kings, right? Has what has Hoid and Felt in it, and that's just about it.
Felt's in Words of Radiance.
Oh, is he in Words of Radiance? He's not even in Way of Kings.
*talking over each other*
Yeah, you saw Galladon, you saw the seventeenth shard. So there's like one scene in the whole book, maybe two, depending, but Hoid isn't even very Hoid-like in that first one. It's the second one where he mentions Adonalsium and stuff—
*correct the previous statement*
Is it the first one? It's the first one. It's that party at the thing with Dalinar. So there's two scenes in Way of Kings, and that's very intentional. By the time we get to the second stage Stormlight books, and the fourth stage Mistborn books, you'll just have to be on-board. But by then you're entrenched. If you're reading Stormlight seven, then the Stormlight series is already longer than everything else, so you might as well just've read everything else.
Watch for what happens when something leaves a bendalloy bubble.
He then laughed and said "That won't make any sense for 10 books"
Given the chance, what stories would you like to write in the Wheel of Time universe?
If I felt it appropriate, I'd choose to finish the prequels. I'd write one about Tam going to war, and one about Moiraine and Lan's adventures leading up to visiting the Two Rivers. Those were two things Robert Jordan had talked about writing.
He didn't leave much in the way of notes, though, so I don't think it would be right to do them.
Since the dead spren are said to have been more or less "reabsorbed" into the cosmere, why did they leave behind physical shards at all?
We'll find out more about dead spren as the books move forward.
Is [Bavadin] the only Shard on White Sand? If so is he the sun or is he the darkside?
He is the only shard on the planet.
But is he the sun?
I'm not gonna answer.
There was a really neat recent post that showed how they use a rotated Copper symbol like we use the "cent" symbol ¢. Are there any other examples in your mind?
I'm glad someone noticed that we took copper and rotated it to mean "clip." Since Scadrial is the closest planet to being like Earth in the Cosmere so far, it's fun to do little things like that. I could see us doing something similar with one of the other symbols to use it to mean a boxing, maybe the symbol for Gold.
How do you set out to write a 1,000 page book? How do you set out to write a 10 volume series? How did you make a decision what to include in The Way of Kings and what to leave out?
Lots of trial and error, mixed with a very, very detailed outline. I spent a lot of time on my outline, and it's very expansive. But really, this is a question to ask after I've finished the series. Right now I'm very optimistic about being able to do it all.
Let's see if I can actually pull it off.
Let's go down the sequel list.
My next book coming out is Skyward. You can read sample chapters of that right now, we've been doing a lot of publicity. If you watch my social media, I'm sorry; you probably are done hearing about Skyward. But you can go read the chapters of that, it comes out in two weeks. I turned in the sequel to that, and I'm gonna try and squeeze in the third book before the year ends. We will see. 'Cause I would like to have that series done and ready to be read, and not have to--
Because, starting January, I promised my attention turns back to Stormlight. *crowd cheers* Everybody cheers for Stormlight. And I will be on Roshar until Book Four is done. Those books take, like, eighteen months. The Skyward books each took 3 months. So, you can see, a Stormlight book's a major undertaking, and nothing else gets done during Stormlight. Which is why it'd be really nice if I can squeeze in that third book, but I only have two and a half months, so I don't know if I'll be able to do it. But I'll start on Stormlight Four.
So that leaves you hanging on a few things. What about Wax and Wayne Four? Wax and Wayne Four will happen. I'm not sure when, but it will happen. I need to keep steady progress on Stormlight. It'd be really easy to get behind on that series, because they are so big and take a lot out of me... I have to take a good year, year-and-a-half break after a Stormlight book to make sure I'm not burned out on the series when I start again. At about eighteen months, actually about a year, I start to get really excited for working on it again, which is where I am right now. And that's where you want me to be when I'm writing a 400,000-word epic fantasy. So, Wax and Wayne Four will happen. But we will see.
Probably not any new Reckoners books for a while. That series is done. There's a Mizzy book in me somewhere, but I don't know when I would do that. Who knows.
Elantris and Warbreaker, sequels wouldn't be approached until after Stormlight Five. Probable they'll happen, but again, wait 'til Stormlight Five. Stormlight's two five-book arcs.
The Rithmatist. Oh, man, that book has been hard to do a sequel to. I tried to write a sequel, and it just didn't work. So I set it aside. I've got a new outline that I like for it, but it has to get slotted in. It's been a really tough book, probably the toughest book to figure out how to do right ever.
If the book is not on that list, then probably not a sequel coming anytime soon.
I worked for a while on the last line of Part Two. Originally, Hrathen thought to himself "Well, this isn't good." However, Moshe disagreed with that line. First, he thought it was too quippish. He wanted something more serious here. Second, he didn't think that these events were actually bad for Hrathen. Telrii, a man who had been giving Hrathen serious troubles, and Eondel, one of his main enemies, had just killed each other. On top of that, Roial—the main rival for the throne—is dead. All in all, a lot of annoying people are dead.
Moshe had a point, though I did disagree a bit. I think Hrathen would see Telrii's death as a wasted investment. He was still hoping to control the man, and having Telrii on the throne and amiable to Hrathen would have been a much better outcome, since it would leave Hrathen looking less powerless before Wyrn.
However, I went ahead and changed the line. It now reads "So much for avoiding a bloody revolution." It gets across the same ruefulness as before, without being as flippant.
Apocalypse Guard is about this superpowered team that goes around saving entire worlds, but their intern without powers gets trapped on a doomed planet and has to figure out how to save it / herself.
At the end of the trilogy, Sazed communicates with Kelsier, so they exist in the afterlife, of some sort. You've got some concept of an afterlife. Is it uniform across the cosmere?
What is happening there is not actually technically an afterlife, though it kind of is. It's what we call a cognitive shadow. It's when your spirit is not moving on yet. So there is a Beyond, but there is a -- basically that's what we would call in our world a ghost, and there are actually magic systems based around that. In fact, the story I have coming out in George R.R. Martin’s next anthology is a ghost story involving this same -- it is cosmere based. Yes, that would be consistent. They don’t all have the same mythology regarding it, but it would be consistent. What happened to Kelsier could have happened on any of the planets.
Frustrated with the editing/beta readers for not noticing Brandon leaving out a character.
The character I'm talking about is Rlain. An entire part of the book was spent with every single member of Bridge Four talking about how Rlain wasn't really a part of things, and even more so Rlain himself in his POV chapter. And then nothing! We get a conclusion to the whole buildup of Bridge Four, but Rlain is nowhere mentioned in the last half of the book. Nevermind that we've all spent an entire book (and the three years since WoR) wondering if Rlain will become a squire, and nevermind that we get an answer to whether a Parshman can become Radiant in the first place. We just get nothing! No resolution.
Everyone noticed this. I noticed it even before the beta read started. Brandon was well aware, and this was all intentional. I'll bet you can think of some reasons for it.
Going back to The Wheel of Time for a second... One of my favorite things about A Memory of Light is you had so much-- I guess free rein with parts of it... Can you give me an example, or a couple of examples, of something that you got [???] I could be totally wrong about this situation but say like, when [???] was first creating a weave to see a whole battlefield. Was that something you did, or was that actually Robert Jordan's.
Excellent question, I'll go through a few of these things for you, that one was me. One of the things that was awesome, but also a little bit difficult is the wrong term-- Anyway, it was awesome to be able to come into The Wheel of Time as a fan, and have read the books for twenty years and be thinking about "Wow, I wish this would happen", and then say "Wow, I'm gonna make that happen" ...But as I was doing it, I was also realizing it was dangerous, because there was a real danger for putting in fanservice type stuff, not in the traditional meaning of fanservice, but like the fanservice of "Narg showed up in the Last Battle again" or things like this. Like little fan jokes. I found that I had a lot of temptation to put those in, and so I had to ride this really careful line where I was saying "What do I as a fan want, to make the book more fulfilling not just as a joke".
One of the things that as a writer I've always wanted to see was gateways used for more than they were used in the books leading up to that point, you know, teleportation, instant travel has a lot of ramifications. One of the things I kind of put on myself was that I didn't want to create a lot of new weaves, because I knew if I did, I'd really risk taking it to far away from Robert Jordan's vision. So I said "Let's stick mostly to the weaves he's used, and see if I can use them in more innovative ways". This whole idea of taking the magic and digging deeper into it rather than going wider with it. And so a lot of the stuff with gateways is me. A lot of--
So for instance, I also went in and said to Harriet coming in, "Every book that Robert Jordan's done, almost all of them, has added a new character who's become a main character who used to be a side character. If we don't do that for these last books it's gonna feel weird to people. So I would like to take one of the Asha'man and bring them to prominence, and make them a viewpoint character and do what Robert Jordan's done" and so that's where Androl came from. And they're like "Well there's nothing in Robert Jordan's notes other than this little bit about his profession, take him and play with him, and do whatever you want." And that was almost a little pressure valve for me, to put the more "Brandon-y" sort of things, goofy magic system stuff with that, and that pressure valve allowed me to not really-- knowing my writing style, I was able to make the rest of it be a little more Robert Jordan-esque, if that makes sense.
You see that pressure valve there, you see it with Perrin in the Wolf Dream, in the world of dreams, because-- I've said before, Robert Jordan didn't leave very much on Perrin. Perrin is a big, empty-- big blank slate for these books. We knew where he ended up at the end and that was it. So Perrin was the other sort of "Do whatever you want, Brandon" sort of thing. He left a lot more on the other characters. So if you're reading a Perrin scene or if you're seeing them play with gateways, you're seeing me kinda let Brandon leak out a bit more. And this was done intentionally, I'd say part was a pressure valve, but also when I was given this, Harriet sat me down and said "You are the author now. I didn't hire a ghostwriter on purpose. I didn't want somebody who was just going to be Robert Jordan, because that would make a bad book", in her opinion. "What Jim-- Robert Jordan can't finish this, so you need to do it and yes, we want to stay true to his vision, but you are the writer now." And she was very clear on that, and I've always remembered that and how much that meant to me, being-- You know, she was the ultimate authority, but I had creative control to do whatever I felt the books needed, and the she-- her job was to rein be back if she though I went too far, and make sure the voice was consistent and things like that. So I got to do a lot with these books that I don't think a ghostwriter would have been able to do.
How tall would the average chasmfiend be, and how much would they weigh? On a scale from ant to Godzilla.
So, they're big. Not godzilla big, but larger than elephant big. On average, they're going to loom over you at about twenty feet high, which is deceptive to their size, as they're longer than tall. And some do get even bigger.
Weight, though, is a tricky matter with greatshells on Roshar. The symbiosis with spren is how they get around crushing themselves. (Even on a lower gravity planet like Roshar.)
One last question though, symbiosis is a two way relationship. The chasmfiends get a huge benefit, the ability to not immediately die. So what do the spren get out of it?
Yes, the symbiosis is a two-way relationship. You'll find out more in future books, but suffice it to say, the spren DO get something out of the deal. (At least, when it happens naturally.)
Are the changing beauty standards of Returned and the "plausibility" of Forgeries determined by the same kind of "cognitive ideals or concepts which have taken on literal personification over time" that some types of Spren represent?
Yes. These things all work according to the same fundamental framework.
In the first three Mistborn books, and Elantris and Warbreaker, you focus a lot on sort of gods and religion, is there a particular reason for that?
Why do I focus on gods and religion in my books. Well there's a couple of reasons. The main one is the kind of overarching story of the cosmere, which all my books are connected, there is some divine force named Adonalsium that was broken apart long ago and the scions of that-- people who have that power are showing up and causing problems and things on planets. So that's kind of the hidden epic behind the scenes, and so because of that religion is a very big part of what happens there.
I'm also a religious person. For those who don't know, I'm Mormon, I'm LDS. And so religion is important to me and whatever I'm fascinated by works it's way into my books. Now I'm generally the type of writer who doesn't feel like I should go into a book with a theme, I should explore what the characters are passionate and let the theme manifest naturally. And so I do that a lot, I don't go in saying "Oh I'm going to teach people this" I say "Who is this character, what are they passionate about" But the things I'm interested in you see. That's why you end up with stories about a god who doesn't believe in his own religion, from Warbreaker. Or you end up with these different things, with Kelsier founding a religion to use it, or having people with different types of faith. And I really think that part of the point of fiction is to, for me, to explore different ideas from different angles and try to just tackle them. And so you'll see me coming back to some of the same concepts again and again, because I want to try them from a new angle, see how this person thinks, see how this character deals with it. Because that's just really interesting to me.
In The Emperor’s Soul, Forgery allows you to Forge your soul to create a different past. My question is, would on Scadrial burning gold in a controlled way allow you to do something like that?
Wow, you guys are good. So, they are similar but different. I would say that no, gold is not gonna do this exact thing. They're working from the same fundamental roots, but gold is a lot more bounded in what it can accomplish.
In Sixth of the Dusk, are the Ones Above Scadrians who invented faster-than-light travel?
You know, I haven't-- I danced around answering that one, just because I don't quite want to get into it yet. I like the Ones Above being somewhat mysterious. But I have said it is someone you know, right? It is part of the cosmere in the very future. So you're not going to be surprised, because there's a limited number of options. But I haven't said-- 'cause I might do more in that world, and I just want to leave them mysterious for now.
The way Painter transforms nightmares into other things is reminiscent of the way spren are affected by perception - only much more extreme. Is perception (and the way the world is set up) the only important factor here, or is Painter using Investiture too somehow?
What's going on here is not Painter using Investiture really. It's the fact that the nightmares have less control over them from another source. Spren have an oversight from Honor, Cultivation, and Odium, and this is kind of leaving them less at the whims of other people's perception. The nightmares do not have that. I'm not going to say they don't have it at all, but Painter is not using Investiture, but the nightmares are specifically more susceptible to what's going on. So for instance, a good way to answer this is if he went and did this for a spren he would not have the same level of power.
In your last Reddit update, you gave a good rundown of your future projects until Stormlight Five. Time permitting, could you talk about other side projects, like the non-Cosmere short works collection, Apocalypse Guard, Alcatraz, and The Rithmatist?
Alcatraz Six is done, being illustrated as we speak. We have the deal in hand from Tor to publish it. Alcatraz Six is a go. Should happen next year, I would suspect. And that is the actual ending to the Alcatraz series. Co-authored with Janci, who is amazing.
Apocalypse Guard has been kicked back to me from Dan, I think I mentioned before. I need to do a draft on it. Dan improved it wonderfully, but what he didn't fix is the ending, which is still broken, because endings aren't Dan's thing in the first place, they're kind of my thing. Which is part of why I pulled the book, is that the ending was not working. So, I need to fix the ending. Fortunately, I came up with a pretty good plan for doing it. So it's going to go on my list sometime during these next couple years, when I need a break between things I will do an Apocalypse Guard revision. It will probably only take me, I would guess, two to three weeks of work to fix it. So that's a strong plausibility that I will be fixing that book in the coming months.
Non-Cosmere collection. I have lots of stories for it; we actually commissioned all the art for it, but that's when we thought that Snapshot was going to get greenlit. It got really close to being greenlit as a movie, but then the option on that lapsed, as they didn't end up doing the greenlight last year. So now, we don't have a movie tie-in to push us to do that, which we still probably should do at some point, is get that collection out. With the couple of short stories I've written that would go in there that we're not gonna necessarily publish somewhere else. Though I did tell you guys, I am sending them out under a false name to see if I can get any magazines to pick them up. It's going to happen eventually; I don't know when. There's some new, cool talks that are happening around Snapshot, which is the most movie-friendly of the things for the non-Cosmere collection. We will see.
I know, for instance, in Spain, they want to take Defending Elysium, which is tied to the Skyward books, and do a Spanish translation of that, in conjunction with a Skyward book, so that might be happening. But I'm not sure how that's going to end up working.
This schedule for me does not include any little side novellas that I decide to write, or side short stories. It leaves some wiggle room, but not a lot, for me to do something like that. So we'll have to see. If some Secret Project pops up on the progress bars, you will know that I have felt too constrained by the schedule I have set for myself and have started writing something else. That hasn't happened in a little while, but it totally could happen. I think the last one of those was the Wizards of the Coast story, where I just had to write that.
On the Discord also they tried to... because the moon is always like on the horizon and they did the math and technically it's possible but it would have to change its inclination I think through one hundred degrees every turn. Is it natural or is it also maintained by...
It is also maintained by the system. We ran the math on that one too. It, like, the Rosharans also are not in a stable orbit but this one's even less in a stable orbit, let's just say that.
Somebody did like the universe simulator thing and somebody ran it to Roshar and they said it crashed into each other.
I mean they would, we find we got like ten, no like a hundred thousand years before it happens but yeah, the moons are very not stable on Roshar, let's just say that. I'm not convinced that the continent is stable either. On geological terms I don't think... if Roshar were as old as Earth is, you would not have a continent, is what I think. Even with the crem and stuff.
The crem isn't enough... you said before that it shifts east?
That's what I think, I haven't done the math but that's what my instinct says that it wouldn't be enough. But we'll leave that for people who actually run the math until they... because I do not have time to get a degree in ecological science.
Also, is there anyone in the Cosmere I could make for X?!
Hmm. Xisis. He'll show up eventually.
I have just seen this and I'm curious. Is there any information about Xisis that you could give us before entering RAFO territory?
Not human, from Yolen, currently hanging out on a planet quite near to where you can find a lot of the aethers.
His Potted Plant, Count Duku.
That only leaves the bio page, which is one of my favorite parts of the book. I hope Scholastic ends up using the picture of my potted plant instead of my actual picture. That’ll really make me laugh. [Assistant Peter’s note: There is no author photo in the book.]
An epoch, is that a standardized set of time or relative?
It is not a standardized set of time.
So it could be variable like, when dad gets home from work til when leaves from work.
Well, that's not going to be one, but yeah... The epochs were way better defined in the original Way of Kings. I let them be more squishy.
In the original Way of Kings, like a first edition?
No, in the Prime, that I read from.
I'm curious about the sun because it's described as white, and our sun is typically yellow. I assume it's a different type of star?
The yellowing of our sun is not actually caused...so our sun being yellow is not based on the star's actual color.
So is it bigger than our sun? Smaller? If there's anything you want to throw out there I'll take it.
Okay...I'm having to reach into my memory. This is not canon. Younger and larger, I believe it is both. Younger and larger.
The star's age, at Roshar...Earth astronomers would say that is a star which could not have planets with life on them.
Every Newsletter, I like to sit down and write something for you that will be a little different. Something that gives a window into what I’ve been doing lately, or things I’ve been thinking about.
Today, because of the White Sand release, I’ve been thinking a lot about the differences between Brandon the writer from the late 90’s (when the book was written) and today. I was 19 when I wrote the first draft of White Sand, and 24 when I wrote the second version (the one that was turned into the graphic novel.) Looking through it again, there is a lot about me and my writing that has changed.
The magic system is one. White Sand has a very cool magic system, where people control sand with their mind. The magic is powered by the water inside the person’s body, which is a neat system. You need to drink a lot in order to have power over the sand--but it’s on a tidally locked planet, where the sun never sets on that side of the world. (In fact, the sun recharges the sand’s power.) So everything is connected in a cool way. Sunlight recharges the sand, a person gives water to the sand (it’s actually a microscopic lichen-like substance living on the sand, and giving it its white color, that creates the magic. The Sand Master gives water to the lichen, fueling its magical life cycle, which in turn releases power that allows the Sand Master to control the sand.) But the sunlight also makes you more likely to dehydrate, which in turn stops you from being able to power the magic.
And then, it has the oddball--Sand Masters ALSO have the power to turn sand into water. I did this because it was cool to my then-writer brain. What if people who lived in a giant desert could make water? Wouldn’t that be useful? I use this to great effect in the story, and yet, it doesn’t fit the narrative. The modern me would never have added this power. It doesn’t fit into the entire system in a cohesive way. The rest makes logical sense; this (though I tried to justify it with worldbuilding behind the scenes) just doesn’t.
But in some ways, the old me was more willing to take chances. This is important to realize as well--I can't become so certain I know the way that things SHOULD be done, that I fall into doing the same thing over and over. I don't think the power to turn sand into water, ultimately, works in the novel. (Let me know what you think, if you read it.) But the fact that I was willing to add screwy, out-of-the-box powers to magic systems back then is a reminder that not everything in life is neat, able to be tied up with a bow. As much as I like playing video games, I don't want my books to feel like a video game--and that's a danger when every piece of the book, magic, and setting fits together to the point that it loses any sense of feeling organic.
A good lesson to learn from my old self.
I find a lot of the things I do in my writing now were there in these older books like White Sand, they just weren’t fully formed yet. I can also see my early self striving very hard not to fall into cliches, or to do just what was safe or expected. One of the book's two main protagonists, for example, is a black woman. I was trying hard to make sure my books weren’t only about white dudes. And yet, I was still young in my understanding of how to make a book feel real and vibrant, full of people who see the world in unique and different ways. For example, while I have a strong female protagonist, in the first draft she was basically the only only major female character. I did this a lot in the past--focused so hard on doing one thing well that I forgot to expand it to the greater story. (As a note, we changed one of the characters in the graphic novel version to be female, to help balance this out. It worked very well, and she's now one of my favorite characters in the whole book.)
It's hard to see past your biases in books though--and this is still something I fight against. I think great fiction somehow expresses the way the world truly is, the way the writer sees the world, and the way that people NOT the writer see the world, all at once. In this book, one of the main protagonists is dark skinned,. And yet, if you read the book, you’ll find that some of the villain groups are stereotypical, faceless, dark-skinned savages. While that same culture has some main characters who have real depth and characterization (thankfully) that didn’t stop me from relying on tropes for some of the broad brush strokes of the story.
Writing is a constant struggle of managing clichés and tropes, and figuring out when they serve you, and when they don’t. And the more you write, the more you become aware of things you lean upon--not just tropes like the ones I mentioned above, but things that are individual. I’ve been wondering a lot about these things with my own writing. At what point does, "Inventive magic system, religious politics, and people faced with difficult moral decisions" become a cliche to me any my writing? How can I push in new areas, doing new things, while preserving what people love about my writing?
Well, I'm still thinking about all these things. I'm very fond of White Sand, and when I was going back through it, I often found myself smiling. remember with great fondness the time I had back then to just write. There were no tours, no interviews, and nothing to distract me. I wouldn’t go back for anything, (I like actually having people read my books!) but there was something pure about that time, when I wasn't writing to deadline, I was just writing whatever I felt like at the moment. That's another thing I try to preserve today, the freedom to do odd projects now and then. Without it, I think I'd get very boring, very quickly.
Anyway, I hope you enjoy White Sand! This book needed far less revision to bring into graphic novel form than I thought it would. The dialogue was snappy, even after all these years, and the world was one of my more inventive. 20-years-ago-me wasn’t nearly as bad a writer as I sometimes pretend he was!
In Arcanum Unbounded, you have gravity ratings for different planets. Is one like Earth?
An Earth analogue, yes.
Vivenna and the Mercenaries Meet the Forgers in the D'Denir Garden
This particular plan, as Vivenna says, was her idea. Denth goes along with it, obtaining the forgeries that (falsely) prove that priests have been extorting Idris. However, he doesn't plan to let them get out.
He knew that turning down this idea from Vivenna would either annoy her or even make her suspicious. He has to let her feel that she's in control; that way he can remain in control himself and get her to the meetings he wants. Unfortunately for him, that means letting her do this, creating fake documents that could hurt the war effort.
After she vanishes, he cancels the project immediately, which is why the papers never end up materializing.
Oh, and if you're wondering, she got the letter from her father from Lemex's stash. Some people asked about this.
Elend and Vin Ride out of Luthadel, Allrianne Joins Them
And Tindwyl and Elend end on a sour note. I guess that's appropriate.
Allrianne is one I'd been wanting to add a shade of depth to for a while, and I saw my chance here. We'll get a viewpoint from her in a short time–just a short one, and it won't do much except maybe give her a little rounding out.
You can thank Isaac (aka Nethermore, the guy who did the internal art for the Mistborn books) for naming the gates in the city. He was the one who, when doing the city map, realized that it would be cool if the eight gates were named after the eight basic metals. It made so much sense; I'm surprised I didn't think of it.
Vin and Elend do manage to escape the city, as they had hoped. My big worry here is that readers will be frustrated that I'm sending the two main characters away for the big battle. My big hope, however, is that readers will take this as a sign that nasty things are coming for the city. I think this chapter here leads to some real potential for tension in the siege itself.
Atop the wall, as the team watches Vin and Elend leave, we get another exchange talking about Sazed and his belief in a lot of different religions. I hope I didn't lay it on too thick; I just wanted to show some character dynamics as he talks to other characters. You can also note here that Ham is back to calling Elend "El." (Against Elend's request earlier in the book.) Ham started that up a while ago, actually. He's not the best at following orders.
Has Hemalurgy been used on another planet besides Scadrial?
Yes it has. Brandon did not want to give out any more details about who was getting spiked or if the spiking was successful.
In a recent (May 2009) interview you stated the following:
I found this on a blog posted July 2008. Does it have any relationship to reality?
Q: What do you have planned after you finish Wheel of Time? A: My next series will be The Way of Kings, which is the start of a big epic for me. I've plotted it as ten books. Fantasy writers, we get into this business because we love the big epics. We grow up reading Brooks and Jordan, and we get to the point where we say, "I want to do this myself."
This should tie you up for a good ten years after you finish The Wheel of Time. Does it mean that you are not going to write anymore one- or three-volume epic fantasy novels?
Can you give us some hints as to what The Way of Kings will be about?
I've told Tor that I want to release Kings on a schedule of two books, followed by one book in another setting, then two more Kings. The series of Kings has been named The Stormlight Archive. (The Way of Kings is the name of the first volume.)
So I should be doing plenty of shorter series in between. We'll see how busy this all keeps me. I think I'd go crazy if I weren't allowed to do new worlds every now and again.
But, then, Kings turned out very, very well. (The first book is complete as of yesterday.) What is it about? Well...I'm struggling to find words to explain it. I could easily give a one or two line pitch on my previous books, but the scope of what I'm trying with this novel is such that it defies my attempts to pin it down.
It happens in a world where hurricane-like storms crash over the land every few days. All of plant life and animal life has had to evolve to deal with this. Plants, for instance, have shells they can withdraw into before a storm. Even trees pull in their leaves and branches. There is no soil, just endless fields of rock.
According to the mythology of the world, mankind used to live in The Tranquiline Halls. Heaven. Well, a group of evil spirits known as the Voidbringers assaulted and captured heaven, casting out God and men. Men took root on Roshar, the world of storms, but the Voidbringers chased them there, trying to push them off of Roshar and into Damnation.
The voidbringers came against man a hundred by a hundred times, trying to destroy them or push them away. To help them cope, the Almighty gave men powerful suits of armor and mystical weapons, known as Shardblades. Led by ten angelic Heralds and ten orders of knights known as Radiants, men resisted the Voidbringers ten thousand times, finally winning and finding peace.
Or so the legends say. Today, the only remnants of those supposed battles are the Shardblades, the possession of which makes a man nearly invincible on the battlefield. The entire world, essentially, is at war with itself—and has been for centuries since the Radiants turned against mankind. Kings strive to win more Shardblades, each secretly wishing to be the one who will finally unite all of mankind under a single throne.
That's the backstory. Probably too much of it. (Sorry.) The book follows a young spearman forced into the army of a Shardbearer, led to war against an enemy he doesn't understand and doesn't really want to fight. It will deal with the truth of what happened deep in mankind's past. Why did the Radiants turn against mankind, and what happened to the magic they used to wield?
I've been working on this book for ten years now. Rather than making it easier to describe and explain, that has made it more daunting. I'm sure I'll get better at it as I revise and as people ask me more often. ;)
How did you ever keep the unique power systems all straight and use them so well for your readers to understand?
The powers, to me, were just so fascinating, well developed, and unique on so many levels! I think with a lesser artist than yourself the powers might have been too much to take in, but I found them quite easy to follow and understand. Just amazing! You seriously are one of my favorite authors. I'll be in line for all of your books!
Thanks! It took a lot of practice. Keeping them straight for myself isn't so difficult—it's like keeping characters straight. The more I've written, the easier it's become.
What is more difficult is keeping it all straight for the readers. This can be tough. One of the challenges with fantasy is what we call the Learning Curve. It can be very daunting to pick up a book and find not only new characters, but an entirely new world, new physics, and a lot of new words and names.
I generally try to introduce this all at a gentle curve. In some books, like Warbreaker, starting with the magic system worked. But in Mistborn, I felt that it was complex enough—and the setting complex enough—that I needed to ease into the magic, and so I did it bit by bit, with Vin.
In all things, practice makes perfect. I have a whole pile of unpublished novels where I didn't do nearly as good a job of this. Even still, I think I have much to learn. In the end of Mistborn One and Warbreaker both I think I leave a little too much confusion about the capabilities of the magic.
Is the world of Perfect State a culmination of the technology we saw in the final Legion story?
I'll leave this to interpretation.
If someone from, say, Roshar, traveled to the world of Warbreaker, do they have Breath?
No, they do not. And if someone from the Warbreaker world leaves, they will still have their Breath... They would not register as being a Drab to people who are looking. They would register as Option C. Particularly someone from Roshar, who is from a primary Shardworld, is slightly Invested.
Why can lerasium be burned by anyone in the cosmere, while atium is restricted to a small portion of the population of one planet?
RAFO.
If people started viewing their worlds as doughnut-shaped, would the Cognitive Realm change as well?
Yes, the Cognitive Realm would shape to that if the general group on the planet all were viewing anything, but particularly something like that. It would influence the how the Cognitive Realm manifests.
As technology develops and people start seeing the world as spheres, will that change…?
It will have an effect.
My question is around connections between corrupted Investiture on different planets. We have the shroud; we have Midnight Essence; we have the nightmares; and we have Nightblood. All of them have, like, oozy black smoke. Are they all connected somehow with the corrupted Investiture of Odium, Ambition...?
Yes and no. The question is: all of these different manifestations (we've got the Midnight Essence, we've got the shroud, we've got Nightblood), are they connected? Are they all related in some way to Odium or Ambition? The answer is no to the second.
When I was building the Cosmere, one of the things that I knew is that I wanted to explore magic systems really in depth. And in order to do that, I built fundamental principles by how magic, Investiture, would manifest. And I wanted it to be consistent. For instance, I wanted the rules... if you're making illusions in one world, I wanted those illusions to behave a lot the same way that they would on other worlds. So I built these fundamental principles that I build up from. And one of those fundamental principles is about Investiture that is trying to become alive and is being held back by something. And that is where you get Midnight Essence sort of things. It's, like, one step from being able to become self-aware, but it's being held back. And there's even, kind of, some frustration in there, as much as something not truly self-aware can have. So if you watch for that theme, you'll see it more and more.
Was busy yesterday writing a picture book.
Don't leave us with less info! What is it about?
RAFO for now. I want to show it around to some people first and see what they think. I'll tell you all what it's about if:
A) It doesn't turn out to be good enough to publish professionally.
or
B) We get a deal for it.
It is not cosmere, however. I wrote it in part to practice the format, as some day I'd like to do some of Hoid's stories (like the Girl who Looked Up) as picture books.
Do worldhoppers in the cosmere teleport between planets, or physically travel the space between?
Both are possible.
Penrod's Dying Message
Here we get to see the aftermath of Marsh spiking Penrod. This is what could have happened with Spook, had he not made the decision he did at the end of his sequence of chapters. I figured that after watching Spook's narrative, we didn't need to explicitly see what Penrod did to cause so much destruction and damage, ending with his own death. Knowing that he was spiked, then seeing TenSoon's reaction to the terrible things happening in the city, should be enough to let your imagination flow.
In truth, it was a house war—which I believe was mentioned earlier in the text—that did much of this damage. The dangers that Kelsier rioted up and nearly loosed on the city four years before finally snapped and were allowed to run free. (Previously, Elend held off the skaa and the nobility from tearing the city to pieces.)
Poor Luthadel. It has taken a real beating. First the rebellion, then the siege, and now this. This is our last scene in the city for the series; we leave it behind as a corpse.
Note, however, that are indeed people hiding underneath Kredik Shaw, as Elend feared. A lot of them, in fact. As many as fled to the pits. But I didn't want to deal with this in the book, as it would be distracting.
Is Kaladin a worldhopper?
No. Kaladin has not been to any other planets (as of current)...
I only yesterday found out you changed the ending for [Words of Radiance]. So here is my question. I've only read the first version where Kaladin kills Szeth. When Szeth gets killed now, it's by the storm. What is it that specifically kills him since he can normally just evade the storm or even be healed by stormlight?
Good question! So, the idea here is that Szeth has given up, and wants to die. I wanted the storm to kill him, then, as opposed to Kaladin. What kills him is losing control in the storm, and being slammed into the ground.
The bigger change here was actually my desire to leave it at least partially clear that he's not dead, in order to avoid the 'fake out' ending. Having him be dead and reborn was important, but I felt in the first stab I erred on the side of pulling a fast one on the reader.
Can you tell me the order the three planets [located the Rosharan system] are in?
No.
Because I know Braize is the third one, I've heard that, is that true?
I'm staying closed-lipped about a lot of this.
Continuity question:
Just prior to meeting with the Nightwatcher 5.5 years ago, Dalinar wakes up at the end of a highstorm and seems to have experienced a vision from Stormfather. But in The Way of Kings, Dalinar says that the visions only began "a few months ago." He also seems to have specific memory of the "first" even if he can't recall all of the details, and it seems unlikely he would have visions for several years without anyone having noticed.
So, should we assume that (1) this strange "dream" in Oathbringer was not actually a one of Honor's visions? Is that just a weird dream, or perhaps some OTHER vision from Stormfather?
Or, (2) this is one of Honor's visions and any contradictory details from The Way of Kings are superseded by Oathbringer?
Or, (3) this is one of Honor's visions, and Dalinar just doesn't remember his history of the visions very well.
So, I did this quite intentionally, it's not number two. But I expected these questions to be asked, and it's a RAFO, but it's one of these RAFOs where I wrote it very deliberately the way I did on purpose, and I'm going to leave it to your speculation as to what it means.
