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Gabriel Rumbaut

A lot of your characters seem to go through crises of faith, particularly Sazed in The Hero of Ages where he essentially questions all his... everything he's come to believe. Have you ever experienced any conflicts with your own religious faith about including such characters in your books?

Brandon Sanderson

That's also a good question. Conflicts is perhaps the wrong way to put it. I believe strongly in the precepts of people like Socrates, that the unexamined life is not worth living and I find that if I'm interested in something I should question it, I should examine it from as many directions as I can.

I tend to do that in my fiction. It's the way I express myself. Rather than actually writing a journal, I don't actually do that. I write stories that explore what I'm working on, myself, what I'm interested in and I find it vital that I attack them from lots of different directions, not just the way I am, but the way I see other people exploring the same problems, the same questions.

It's just--it's valuable to me as a writer and as a person to explore these things in depth, so I've never seen conflict but I certainly have expressed my own questions and examinations through characters as they have reached similar moments in their lives.

Epic Games

Which of the characters do you find most compelling and why?

Brandon Sanderson

Siris, our main character. I felt I really needed a protagonist who was compelling, so I did everything I could to make him fit the bill. I also think that Isa, the character I created to go alongside him, is very fun and very interesting, but certainly Siris is the most compelling.

Questioner

Do you have a cameo, or a character that represents you?

Brandon Sanderson

I do not. They're all a piece of me... Every character is me in one way, and every character is not me in other ways.

Ray745

So once upon a time Brandon was going to write Szeth as the flashback character for book three, but then Brandon changed his mind, decided to write Dalinar's flashback chapters to see how that would go, and then after writing them made book 3 Dalinar's book instead. Here is a quote from the first Stormlight Book 3 Update post Brandon made in this subreddit

As someone else has posted, I have finished the rough draft of Dalinar's flashbacks for Stormlight Three. I consider the experiment of writing his flashbacks for this book, instead of waiting for book five, to be a success. Therefore, I'm proceeding with the Dalinar/Szeth flip.

The reasoning for this is something I can't discuss in detail until the book is released. I'd be happy to revisit this topic once you all have a chance to read the novel.

Now that the book has been out for 6 months or so, I'd love to hear Brandon discuss the reasoning behind this. Personally, I have a very tough time imagining how this book would have played out if Szeth had been the flashback character. Clearly we wouldn't have had to Dalinar/Odium confrontation if we didn't have Dalinar's flashbacks, as those were integral to the overall storyline. I'd love to hear what the plot of this book was originally supposed to be when Szeth was going to have the flashbacks. Does anyone know the answers to this, or am I going to have to hope Brandon sees this post and decides to answer more than a RAFO? :)

Brandon Sanderson

Hmm. This is going to be difficult to answer without straying into spoilers for books four and five. It's also hard to say how the books would have played out if I'd swapped these back.

The Dalinar/Odium confrontation would still have happened, as that was something I'd been planning for a while. But how would things have played out? Hard to say, as an outline is only a rough guide--even for someone like me. It's when you get to the nitty gritty of the story that things come together.

Having finished the book, it's hard for me to imagine going another direction--as I made the decisions I did because I felt they were the ones that were right for the story. And a lot has changed over the years as I've worked on the details. (Kaladin's arc from book two, for example, was originally plotted for book three--parallel to Szeth and his flashbacks, which share some similarities.)

Dalinar's flashbacks would work very well for book five for reasons I can't explain yet--but it became clear to me that I needed them for this book, despite the outline looking at the Szeth/Kaladin dynamic. (Which was upended anyway when I moved Kaladin's second character arc to book two.)

So...that's a whole lot of not saying much, I'm afraid. I can answer a lot more once book five is out.

sv15249

Does it mean that we shouldn't expect any explanations or clues about what happened with Dalinar at the end of Oathbringer before book 5?

Ask just to know if we'll know more in book 4 or we'll have to wait a bit longer.To avoid false expectations:)

Brandon Sanderson

There will be explanations and clues, but I would anticipate more Dalinar in book 5 than in book 4.

Questioner

What you do with religions in your world, in your stories more generally. *audio obscured* Tokien, he says his books are fundamentally Catholic works, but he never mentions religion explicitly. It kind of just breathes religious air, is the way I describe it. So like you address religion in your books with the characters, sometimes positively sometimes negatively. How do you deal with that in your world and in your books, like with the air that they breathe kind of, to steal the metaphor?

Brandon Sanderson

Yeah I just-- The characters are everything to the books. What they are passionate about becomes what the book is about. For me my job in writing is to explore different sides of issues through the eyes of different people. That said, who I am shapes what I am interested in and what ends up in the books. I think at the end of the day I think you could call my books fundamentally Mormon books, in the way that Tolkien's were fundamentally Catholic, because I can't separate myself from my religion. I am trying to explore the world through the eyes of people who see the world differently from the way I see it.

Questioner

So you would say you're-- Through your characters-- It comes out through how different people would approach it.

Brandon Sanderson

That's my goal.

Questioner

So how then, does Mormonism affect, like you said-- In what way would you say your books are fundamentally Mormon?

Brandon Sanderson

Well if the philosopher in me steps aside, and the writer in me just wrote what the writer is passionate about. If the trained English major says-- One of the biggest fundamental tenets of Mormonism is deification of normal people, right? Mormonism believes that we are gods in embryo and we are here to learn and have experience so we will be better in the afterlife, and growing and we'll eventually-- Joseph Smith taught "What Man is God once Was, and what God is Man may Become" maybe not "will be" but "may become" That's what he said. And so if you look at my books there's a whole bunch of deification going on, right? That's like fundamental to the cosmere is "What do people do with the power of the gods when they're given it?" And I would say that's totally my upbringing that made me fascinated about that. Does that make sense?

Questioner

Yeah, I never thought about that. Fantasy really lends itself to that.

Brandon Sanderson

Yes, it does. But I mean deification of a normal person is a very Christian tenet also, it's just one person did it, and it was a person who was God before, but it is still part of that whole thing which is part of why I think Christianity and Fantasy ended up kind of hand in hand.

Brandon Sanderson

I kind of wish I'd had more time to show Yeden's transformation into trusting–even liking–Kelsier. Unfortunately, I've focused the book around Vin. By now, you should be seeing that she's taking more and more viewpoints, and Kelsier is getting fewer and fewer.

That's another reason why I shifted the book from being a true heist book into what it became. I wanted the story to be about Vin, not about the various clever members of the crew. Vin is a deep and interesting character to me, and she deserved the screen time to develop. That's more important to me for the overall series than the clever heist against the Lord Ruler.

The result is that I don't have a lot of screen time for characters like Yeden. So, their character arcs have to happen quickly and abruptly–such as the way he shows his changes in this chapter.

Questioner

I want to write books... Do you have any trouble with trying to figure out what you want your main character's name to be?

Brandon Sanderson

Names... I will tell you this. You're probably stressing too hard about the name, because usually if you just pick one and start writing, you will grow to see that character by that name, and they'll be come entwined, and you won't stress about it anymore. That happens most of the time, if you just settle on one.

If you're writing Sci Fi/Fantasy, there are a couple of things you can do. If you want a really easy sort of Sci Fi/Fantasy hack, assign sort of a linguistic structure to a bunch of different countries in your world, and be like, "All of these are going to have Ancient Babylonian sounding names." And then you can go kind of look at that language and build some names out of that. That's an easy way to do it.

But really, I would not stress this. Just name the characters, start writing. If it feels wrong to you after you've written for a while, swap something else in, see if that works, and write for a while. Usually the person will grow to match the name, and then name will become synonymous with them in your head, to the point that it can be really hard to change their names later on when you decide, as I've sometimes decided, "Wow, this name doesn't fit the naming paradigm for this culture; I'll change their name." And then I just keep calling them the wrong name when I talk about them.

Questioner

When you develop a character, like as the change over time, does it come naturally or do you have to force it?

Brandon Sanderson

As I develop characters and they change over time, does that come naturally or do I have to force it? For me it comes very naturally. I do a lot of planning ahead of time on my plots and a lot of planning ahead of time on my settings. I do less on my characters. I cast people in roles. I start writing someone in this role and I see what becomes of them in the first few chapters and if I'm not liking that I put it aside and cast someone else in that role and write for a few chapters and then set that aside until I find a mix that I like and then it is a very natural progression as I write them. That's just the way that it works for me. It's a matter of practice making that happen.

Marc Aplin

So, Mistborn, as you said, was originally planned, and I think still is, a trilogy of trilogies, and also you've got the Stormlight at the moment that you say is one to watch. Can you give us any insight to what's to come in the future, and is it in some ways hard to let go of the original trilogy? I know you've done the standalone, but then to really move on.

Brandon Sanderson

Letting go of the original trilogy will be kind of hard. But in some ways, it'll have to. Because the original trilogy has become the mythology and lore of the world, which is really fun to work with as a writer. Beyond that, there are continuing characters. There was always planned to be continuing characters. I can't say much without giving spoilers, but there are characters from the original trilogy appearing in this book, several of them. Some of them are hidden. You're going to have to search and figure out who's who. Some of them are less hidden.

In the future, the second trilogy's going to be one that deals with a... By this point, in the world—and Alloy of Law is the same case—there are no Mistborn anymore. There are only Mistings, for various reasons that I don't want to give spoilers on, but there are Mistings. The second trilogy happens in a modern setting when we get to that. Alloy of Law is in an industrial setting. In the modern setting, there we will be doing a story eventually about a Mistborn serial killer and a SWAT team of Allomancers who... We're talking people with machine guns and, you know, Navy SEAL Allomancers whose job it is to hunt down Allomancer criminals, and then they'll reveal something, um...unexpected, how about that.

Questioner

Who is your favorite character in Mistborn?

Brandon Sanderson

Hmmm, probably Sazed. The truth is, my favorite character changes depending on who I'm writing, and things like that.

Questioner

Okay, I feel better about it now.

Questioner 2

Breeze is my favorite character

Brandon Sanderson

Breeze is a lot of fun.

Questioner

The Way of Kings was a book you wanted to tell for many, many years. And I want to figure out, what is the essence that you wanted to tell? Because so many things changed. The major plot elements, some characters. You brought things from other books that are so central to the book. What was the essence that you originally wanted to tell?

Brandon Sanderson

It was Dalinar's story. Dalinar was one of the very first characters I wrote about when I was a teenager. And I was not able to achieve the story I wanted to tell for him. And so he sat on the back burner as I waited and waited until I figured out how to tell this story in a way that would work. So, basically it's him. He's the soul of the series for me. And certainly, Kaladin and Shallan are very important, and they will have excellent fun, exciting things to do, and they'll be very much part of it. But both of them were developed later in the game. Kaladin was developed early 2000s, and Shallan was developed when I wrote this draft of the book. She had not been around before; there had been another character.

So it's that mixed with the setting. The setting is one of the oldest I have been working with, the highstorms and things like this. I've for a long time wanted to tell that story.

Plus, you know, knights in magical power armor. I actually have thought, "No one's gonna buy this until I've given them other books." They might say, "Okay, we trust you Brandon. Knights in magical power armor, I suppose we'll go along with this."

Brandon Sanderson

Chapter Twenty-One - Part One

Demoux Survives

Yes, Demoux lives. He'd have died, save for a promise I made. If you've read the other annotations, you'll know that he was named for my former roommate Micah DeMoux. I always thought his name was cool, and wanted to use it for a character. He said I could, but made me promise two things. 1) His character had to get a girl eventually, and 2) His character had to survive to the end of the series.

So Demoux couldn't die here. He's protected by a magical shield known as the author's promise to his pal.

Questioner

So when you are doing a kind of in-depth and very long story-- like The Stormlight Archive... Can you-- Do you tackle that, like, in short-- For like an outline?

Brandon Sanderson

Oh good question.

Questioner

Do you outline the entire thing? Do you outline one at a time, or two at a time?

Brandon Sanderson

…So outlining. You picked the hardest one to outline, by far.  Normally the outlining process for me is-- it goes like this, I sit down and I write Plot, Setting, Character in a new sheet. I put them in outline level one. And then I put all the things that I have been thinking in my head for a while, that I've been brainstorming with friends or-- Every book that I write I spent a long time planning it out, it's when ideas connect together that you know you have a great book.  One idea is not a book, multiple ideas that influence each other in cool ways is a book, to me.  So I write all this down and then I start looking for the structure and what are people's plots.  The way I outline is I outline goal-based.  Say I want to have an interesting relationship dynamic between these two characters, how can I achieve that? What's my goal at the end and what are my steps to get there? That is part of my outline. And I don't like-- And then I do another one. Okay, someone's got to learn to use the magic, what's my end goal, what are my steps to get there, what are cool scenes out of this? Those are all separate in my outline, it's not like in my outline there's "Chapter one: this, this, this, and this". It's Goal, with how to achieve. Goal, how to achieve it. Goal, how to achieve it. That's my normal outline process.

Now The Stormlight Archive is a strange beast, because it is plotted as ten books, each focusing around a character. And for that what I did was I sat down and wrote out my outline more in prose form, my vision for the whole series and then I wrote a paragraph about each book.  Then what I just told you, I did for the first book, then I wrote the first book.  Then I went back and created a much bigger and more detailed outline for the rest of the series. So it's kind of this process. The really weird thing about the Stormlight books is that I actually plot each one like I plot a trilogy.  So for instance, Words of Radiance you can find-- people have noticed them-- breakpoints between quote-unquote books, that this volume is actually written as three books with a short story collection as the interludes woven between.  That's how I approach those books.

My publisher has a love/hate relationship with The Stormlight Archive because they feel they could publish them as four volumes and make four times as much money but I won't let them.  But they don't want me to write other things because they really want more Stormlight because Stormlight is the one that sells the best out of everything.  So they are like "Write more Stormlight, but can we split it please?" and I say "No, you can't split it" and they're like "arghhh" So they release them as these big volumes, as I told them to, even though they know they are each like these three volumes-- And anyway...

That's kind of the shorter version of it. If you guys are... writers, and you want some help, I have two resources. Ask when you come through the line. I have a podcast, with a bookmark that says where it is. Fifteen minutes of writing advice every week. It's called Writing Excuses. I also lecture at Brigham Young University, and part of my requirement for lecturing for them-- I don't take salary-- is that they have to let me put my lectures online for people to see. So my lectures, for the last few years, of my university course, are posted online.

Brandon Sanderson

Well, we're going to read Rhythm of War. Rhythm of War is the working title, most likely the final title, of Stormlight Four. There are not that many things I can actually read for you that won't spoil the first book. There are a few. For those who haven't read the Stormlight books, all of the prologues take place on the same day, and the books before, they always flash back to a different prologue from a different character viewpoint on the same day that the king was assassinated. (And that's not a spoiler because the first line of the book, of the prologue, is a character thinking about how they're there to assassinate the king.)

So, the thing I'm gonna warn you about here is that my continuity editor has not been through this yet. And these prologues get really tricky to intertwine because of where everybody is at certain times. So whenever I turn in one of these prologues, it's a lot of work to make sure that each of the characters can be where they need to be, so that the prologues don't go out of continuity with each other. So, do be warned, this is first draft. But this is Navani's prologue.

Brandon Sanderson

The Simpsons Did It

I worried a little bit about having Grandpa Smedry and the other Free Kingdomers misunderstand American culture so much. They don’t quite get it. This is a fun plotting element, and it gives explanation for some of Alcatraz’s past (you’ll get this later) but it’s also worrying because it’s similar to something that was done in Harry Potter. (The Weasley father tries to do things like Muggles, but doesn’t ever quite get it right.)

I almost cut this element from the book because of the similarity. Those of you who know me and my work probably already understand how much of a “Don’t do what I’ve seen done” reaction I have. If another author has done it, and I’m not parodying it or changing it enough to be unrecognizable, then I don’t want to put it in my books. Even if I knew nothing of the other author and their work.

In this case, I didn’t cut it. I do happen to like Harry Potter, and have read all of the books, and so I was even more tempted to edit this out. However, in contemplating it, a certain episode of South Park came to mind. In the episode, one of the characters is constantly crying out “Simpsons did it!” to plot elements or ideas that the characters tried.

The point in the episode was that the characters kept getting frustrated because all of their great ideas are things that the show The Simpsons had already done in one of their episodes. I can see the writers of South Park and their frustration in this episode, and see it as a reaction to times when people emailed them and posted on forums, chastising them for copying The Simpsons. The problem is, as the show points out, The Simpsons has pretty much done everything. The writers couldn’t afford to undermine their own show by trying to cut out every little thing they thought of that happened to be similar to something in another show.

Harry Potter dominates the market right now. And the thing is, a lot of the things in Harry Potter weren’t invented first by Rowling. They’re staples of the genre, or ideas that have been done other times by other books. Rowling does them very well. However, if you try to cut out anything from your books that might hint at being similar to Harry Potter, you’re going to have a frustrating time.

Yes, we need to innovate. Yes, I prefer books that are original. However, I’m already writing a book about a cult of evil librarians that rule the world and a boy with the magical power to break things. Neither are ideas I’ve ever seen before. I didn’t feel I needed to expunge everything that might reference another work. If I did, I worry that my novels would be so original that they’re inaccessible.

Just my thoughts on the matter. Wow, that turned into an essay. I didn’t mean it to be one–it was more for my own benefit than for yours. But that’s what you have to deal with in these annotations. I’m even more free than I am in my books to write whatever the heck I want.

LexLuthorXIV

So I have a couple of questions....

I loved the book, it was all great UNTIL Vin and especially ELEND died. I can see why you did it, but I was crying so hard when Vin confirmed Elend was dead. I actually had an urge to burn the books right then and there and pretend it had never happened. Either way, I continued reading and then found some sliver of hope when Sazed said he hadn't figured out how to restore the souls YET, he said he would get better at it.

1)Does that mean that he might someday, maybe, hopefully (pretty please) bring them back to life? I suspect that you might not answer, but can I at least hope? Cause if anyone deserved to live a full NORMAL life it was Vin and Elend. Besides, it would ROCK if Elend and Kelsier ever got to meet each other......

Aw man.....I'm still crying over Elend....Is it wrong I get so attatched to characters? Its just that Elend and Vin got so little time together. It's so sad. Which reminds me: You mentioned, when someone asked about Sazed meeting Twindyl again, that he hadn't because he hadn't reached that space where souls were and the ones that were trapped in the in between were the ones that had a connection with either the physical or the concious world. Those weren't the exact words but it was something like that that IMPLIED that Vin, Elend and Kelsier were somehow still connected with the earth because unlike Twindyl the hadn't progressed past that in between place.

2) Am I right and maybe going somewhere, or am I talking total nonsense and simply trying to cope with the loss of Elend?

Brandon Sanderson

One of the reasons for that line at the end is to give you, the reader, the power and authority to bring to the characters the ending you wish. I may do more in this series, but until then, please take the future of the characters wherever you want in your own mind. (Also, you mention that they had such little time together—which is true, but also remember that there was a year between books one and two, then another year between books two and three. They spent most of this time together.)

The door is open for a return of Elend and Vin. Will I write it? It isn't likely to be soon, if I ever even do. Does that mean it won't happen? No. Not at all. If I write more Mistborn books, they will be hundreds of years in the future. During that time, Sazed could have learned to get souls into bodies, given Vin and Elend a life together somewhere away from the others, where they wouldn't have to struggle quite so much like they did through their lives, then ushered their souls on to the beyond. Or they could hang around with him, working with him as he takes his next steps to shepherd humankind on Scadrial. Or neither of the above. Imagine it how you wish, for I'm not going to set this one in stone for quite some time, if ever.

Brandon Sanderson

Chapter Eleven

Authors like to torture people.

If I had to pick, this would be my second-favorite rant. The mousetrap one is fun, but this one actually says something. It offers commentary. Even if it is ridiculous.

I’ve wondered about this concept. Why, exactly, do authors do what they do? Why do I write books, and why do I get a thrill every time I see a character in as much pain as I put Alcatraz through in this chapter?

I acknowledge that I’m probably not a sadist. It’s more that I love seeing good character development. Books are about emotion, and I get the greatest satisfaction from a story when people become so attached to the character that they feel like they know them. Then, when something bad happens, it’s heartwrenching, and the book gains meaning. Not because of what it says or its grand philosophy, but because it means something to that reader at that moment.

And when there are victories, they really feel like victories. Nothing is better than that.

Kathy

I was talking with a couple of others in another chat room about Vivenna and Siri's personal journeys in the book, especially at the end when Vivenna decides that she isn't going to write to her father in Idris. There was much debate over whether Vivenna was being childish and running away from responsibility, or if she realized that she was so drastically different from who she was before that she knew she was going to disappoint her father and family. As the author, what is your take on this scene regarding Vivenna's growth as a person?

Brandon Sanderson

I would say yes to both. Vivenna ends the book having experienced a great deal of personal growth. However, unlike some of the other characters, she is only a few rungs up the ladder. She's got a long way to go. That's why as I was plotting the book, before I even started, I decided I'd probably want to do this as a two-book cycle. Overlapping and forcing upon Vivenna the level of personal growth that it would take to get her character to completely reach an end point just couldn't happen in the book. Particularly with me doing what I did with Lightsong and the personal arc he has, and with Siri. So Vivenna certainly had a lot of growth, but I planned a separate book where I could really delve into and dig into her psychoses and her psychology.

Vasher still has a long way to go too. His personal growth is more like a zigzag pattern—a line graph with lots of peaks and valleys. He's been around and still hasn't really found himself, though he's thought he's found himself a number of times. Anyway, those two characters led me to think that there was a lot more to explore there. I didn't want to ram them through the paces it would take in this one book. I thought it would ruin the book. So I let them grow at the rate they needed to grow at, or decline at the rate they needed to decline at, and saved a second book in the series to deal more with who they are and who they become.

Brandon Sanderson

Chapter Forty-Nine

Vasher's Temper

Giving Vasher temper issues is part of a minor quest on my part to find more realistic conflicts and personality traits for my characters. It seems that much of the time, the flaws that writers give their heroes are really just backhanded talents. A hero is "too bold" or "too much of a bookworm." I'm guilty of this as much as anybody. (Siri's character flaws are an example.)

It's a tough balance. Real people tend to have flaws that make them . . . well, unlikable sometimes. Or at least difficult to get along with. We get grumpy, we make bad decisions, we say things we don't mean. It's hard to convey this in a story without making the characters unlikable. There are authors who are fantastic at doing so, and Vasher here was me toying with making a person have a more realistic temperament. There's no hidden advantage for him being like he is; he's simply got anger issues. Not extreme ones—it's not like he has to go to therapy. He's just prone to losing his temper like any number of people out there in the world.

CarterLawler

Rock is the cook for Bridge 4, and not once does he say, "Can you smell what the Rock is cooking?" It is a missed opportunity

I have to wonder if /u/mistborn had that mind when creating the character. I will only see him that way now!

Ankylosaurian

Unfortunately not.

bonly

I don't believe it. To clarify, I believe he didn't intentionally do it and I 100% believe Brandon is telling the subjective truth.

On the other hand, he invented a fictional culture loosely based on Polynesians and then made a big strong character from that culture and gave him the same name as a big strong descendant of Polynesians.

Have to stress, I'm in no way saying any of this as a negative thing...but the conscious part of the human brain isn't always aware of everything the rest of the brain is doing or where its thoughts come from.

Brandon Sanderson

I can see how you'd be skeptical...but you can find Rock in the 1998/99 version of Dragonsteel. He's largely the same character with the same name--though this was before he and Bridge Four were moved to the Stormlight Archive. Regardless, Dragonsteel was printed as my honors thesis several years before I even heard of the wrestler/actor. This really is just a coincidence. Sorry, /u/CarterLawler.

Brandon Sanderson

Fun fact: Hoid, the character who has shown up in each of my cosmere books, had a brief stint as one of my high school D&D characters. He didn't start life there, but I did try to build a character for him. So I've done the same thing. (Koloss made their first appearance in a game I ran, though they were far more demonic in nature.)

Brandon Sanderson

Chapter Nine

Vivenna as a Viewpoint Character

Generally, Vivenna is the readers' least favorite character in the book. I can see why that is. Siri gets to be the flamboyant younger sister, Lightsong the pithy courtier, and Vasher the mysterious unknown. Vivenna, then, is saddled with the responsibility of being the older sister trying to do what is right. She's not as dynamic as the others, particularly from the start.

Perhaps this should have made me want to put more into her viewpoints. Change her to be more dynamic, perhaps. However, I resisted that. Of the four, Vivenna is the most like me. The older sibling who gets into other people's business, ostensibly for their own good. I was a lot like that when I was younger.

For me, Vivenna is the most interesting character in the book. Yes, Lightsong was the most fun to write—but Vivenna is the one who has the most potential for growth and change. Particularly because she isn't instantly appealing like the other three. Much like Hrathen in Elantris, Vivenna begins very far from where she would need to go if she wanted to gain the rooting interest of readers. You'll have to read on and see if she actually gets there.

Questioner

For the Saint in Skyward, I just love the funny prophet character. What was your inspiration for that?

Brandon Sanderson

So, the Saint in Skyward. Not giving any spoilers. When I was working on this character, I was really looking for something-- I look for linguistic cues. Because if you can have linguistic cues to who's talking and what the character's like, and something that'll characterize them through their language, that makes it so much better in storytelling, because you don't have to put that in narrative, you can put it in the flow of a conversation. And you'll notice, at least I've noticed, that a lot of the great screenwriters look for these sorts of things, so they can tag who is speaking, even if it's offscreen, by the way that they are talking, and I just love to do this. And a lot of these things come out of me taking a scene and working with it and casting different people in the roles and trying their voices until I hit on one that I say, "That's interesting, let's dig into this further", and that's what happened there.

Questioner (paraphrased)

Out of all the characters, who do you identify with the most?

Brandon Sanderson (paraphrased)

Hard to say because each of my characters I identify with in some way. Can't pick favorite characters or books becaues they're all my children.

Questioner

Does it feel like your own work when you hear [a translation]? Is it recognizable in any way? What do the translations do with your work? I suppose you get a lot of questions by your translators about the magic, about invented words. How does this reflect on your writing?

Brandon Sanderson

You know, I’m not sure if it changes the way I approach my writing at all. But I do find it fascinating. Hearing a reading, in particular, is in some ways, it’s a double interpretation. Because first, you have the translation to German. And then you have the narrator... will give an interpretation, as well. But one of the things about writing that I believe is that I’m not completing the story. What I do is, I write a script. And every person who reads that book is going to finish the story in their head. I give descriptions of the characters, but even with those descriptions, every person who reads the book is going to imagine those characters [in a] slightly different way. So I’ve always viewed myself, as a writer, as kind of like the screenwriter. Where the reader is the director, who’s going to finish the story. And I don’t think a book really lives until it’s been experienced by a reader. And so it doesn’t bother me, the idea of going through translators or getting different interpretations by the audiobook narrators, because I feel like my text is going to be interpreted by whoever experiences it, in different ways. And in some ways, as soon as it gets experienced by a reader, it becomes their story. They finish it, and it doesn’t really ‘come alive’ until they’ve done so. So, it’s not finished anyway. I think it’s just really cool. I like seeing fan art, even though each drawing of a character looks different from another one. It lets me see a little bit how that book was finished in that reader’s mind.

Vaelith

I would like to echo a question that someone beat me to. The way you ended it seemed to leave the door wide open for other books with characters such as Spook and Breeze playing much larger roles. My question is, was the ending planned as just an open-ended ending to make people wonder about what might happen, or was that with the intent of writing more books in mind?

Brandon Sanderson

I like it when my characters live on in people's minds. I have no plans right now to write any more books about Spook or Breeze, though what they do in the next period of time will create the history for the next series. However, there's a chance I'll change my mind on this. However, this ending was not set up for another book specifically. I just wanted to tell the best ending I could, and this is how it turned out.

Peter Ahlstrom

Brandon does want to write more Mistborn books, but not with the same characters. There would be two more trilogies. The second trilogy would be set a few hundred years later, in a modern day–type setting, when the events of the first trilogy have passed into legend. The third trilogy would be set a few more hundred years later, in a future, outer space–type setting.

It's such an audacious idea I wish he would write it right now because I want to read it, especially the third trilogy. But Brandon has announced his next project (pending Tor approval) will be Way of Kings, a 10-volume epic fantasy. He'll sprinkle in a book from another project here and there, so the next Mistborn trilogy might start before Way of Kings is ended, but it will be years yet before there is any more Mistborn.

Kaimipono

But Ookla, he already wrote that one!

Peter Ahlstrom

I know. :)

The real story is that Brandon was writing (or revising?) Way of Kings when Tor offered to buy Elantris. Brandon signed a two-book contract for Elantris and Way of Kings. Then Brandon realized he wasn't in the point in his career yet where he could write Way of Kings the way he wanted to, so while he was supposed to be revising Way of Kings he secretly wrote the first Mistborn book instead, which he then sold to Tor as a trilogy, replacing Way of Kings in the original contract.

But for some reason Amazon already had a listing for Way of Kings, with a release date. Thence the fake reviews.

I've read an early draft of the first book, and it aims to be very epic. (No, Elvis is not involved.) I do wonder, though, whether when it actually comes out, the fake reviews will get attached to its Amazon listing. :)

Brandon Sanderson

This is all true. Note that the book would not be named The Way of Kings. Most likely, I'm going to make that the series name. So I guess the book "The Way of Kings" must be some kind of parallel novel or prequel or something... ;)

Peter Ahlstrom

Oathshards is out, eh?

You're such a tease, Brandon. All these details about the next series will make everyone hungry for it, and then we'll all have to wait.

Of course, any other book you put out in the meantime will still be awesome, so we should be content, right?

Brandon Sanderson

I don't think Oathshards is as strong a name as "The Way of Kings." Plus, that's really what the series is about. 

Questioner

So for Calamity, like about these others that you mentioned, are we ever going to figure that out? Or is just going to be...

Brandon Sanderon

Oh yeah, so the next series I’m doing deals with the greater-- kind of interdimensional travel and who are these people.

Questioner

Okay good, because I was like “You can’t leave me like this” at the very end.  I really liked how it was put together and stuff. My own theories were that David was actually, like his powers were actually figuring out Epics’ weaknesses...

Brandon Sanderson

I considered that, I really did. At the end of the day, when I brainstormed the trilogy I said you know what would be most fun for me in this series is to do a trilogy that is basically an origin story, for a character and then when I come back to The Reckoners, if I do, because the next one’s a parallel dimension, right?

Questioner

From where Firefight is, or from like other?

Brandon Sanderson

That -- we will get into why certain ones are stable and certain ones aren’t and why you can pull from and we’ll do something there with a new character. And if I come back, then Mizzy will be the main character in the sequel series.

Questioner

Awesome if you ask me, because I was always looking forward to more Mizzy.

Brandon Sanderson

Does that make sense? That’s where the plan for these is, we’ll see how the new series goes, they’re announcing it next week. And the entirety of the magic system is based on interdimensional stuff.

Questioner

Right, especially with Megan and her--

Brandon Sanderson

Yep.

Questioner

--multiple hundred personalities coming together and stuff.

Brandon Sanderson

So it’s kind of like Megan has opened up this idea of a quantum multiverse, and now I’m going to do a quantum multiverse, which is not something I can deal with in the cosmere so it’s exciting for me to be able to do it.

Questioner

Yeah ‘cause the first one we see about the others I was like (okay cosmere fandom, but wait) this is not cosmere, don't worry about that.

Brandon Sanderson

Not cosmere.  Going straight-up quantum multiverse, in kind of a classical sense. I’ve been doing a lot of reading on string theory and things. It’s so hard, string theory breaks my brain.  Quantum mechanics break my brain.

Questioner

How do you do it? (after saying he likes the characters and societies that Brandon writes)

Brandon Sanderson

Lots of practice. Lots of reading in the genre and loving the genre. A little bit of talent, a lot of loving the genre, and a lot of practice for a long time.

Questioner

I haven’t read Mistborn, but I’ve read this one [Stormlight]. How do you come up with the culture, the society?

Brandon Sanderson

It depends on the book. Stormlight is my best series. If you haven’t tried Emperor’s Soul, it’s the other thing that I think is on Stormlight’s level, but it’s a short. What I’m looking to do with something like Stormlight is to say that the fantasy genre should be the most magical genre, right? Classically, science fiction has done a better job with the worldbuilding, and fantasy has tended to do a better job with things like characters and story. Not that there’s not science fiction that has great, you know, but usually science fiction’s been about the ideas and the interesting settings, but in fantasy we play it safe with the settings and try to do interesting characters. Which I’ve always thought, “Why do we do that? Why do we play it safe with our settings? Why don’t we have really bizarre, fantastical settings?”. So for years, even before I became a published author, I was searching for ones that would have one foot in science fiction. I want to do something magical as an origin, like the highstorm, you know, the physics of the highstorm don’t actually work, but we take it for assumed and then we try to extrapolate a realistic extrapolation of the world from that. That’s just what I’m doing, I’m trying to set up some sort fantastical setting or environment and then let science fiction take over and try and build how it would grow. On the cultures, usually I’m taking things I’ve learned about our culture and I am just trying to [...] a fantastical version. Sometimes when you do that you can say something interesting about human society, removed from the baggage of human society. There was a brief time in the pre-Victorian era where, for women, showing your ankle was more taboo than showing your chest. In fact, they would have pictures painted of them, noblewomen, in a state of what you’d call topless. Not a problem; a little risque, like what wearing a low-cut shirt is now, but no big deal. That’s bizarre to us, because, our society that’s not how it is. But if I put that in, in a fantasy book as a safehand, I can say, look, human beings do bizarre things as far as gender roles, socialization of gender, and what we find attractive. This should be very bizarre to you, but the reactions are normal. That disconnect is what helps build a fantastical society and lets me say a few things about our society, I hope in interesting ways.

Mrrobot112

Eshonai is flashback character [for Stormlight Four], but she is dead in the present. So...who will be main protagonists in the main timeline? Hope for Dalinar, Shallan and Kaladin will be as important as they were in first three books)

Brandon Sanderson

Eshonai will still be the flashback character, and Venli will take a larger role to provide counterpart past/present. But, as always, you will find a focus on all five protagonists from this sequence. (I view them as Dalinar, Kaladin, Shallan, Eshonai/Venli, Szeth.)

Mrrobot112

I heard it would be one year time gap (in world) between books 3 and 4, which make me think about structure of the book. Does it mean, something important could happen during this year, and then it will be explained in some form(maybe another set of flashbacks)? If so, it's hard for me to visualize the book structure: main timeline, Eshonai's flashbacks and another set of flashbacks for past year? Seems like a mess. Or it will be like Mistborn era 1 time gaps between each book? Main narrative just continues without getting stuck with one-year break, and nothing important happens off-screen. It will be nice to get some qualification from you, if possible. Cause now I'm a bit confused.

Brandon Sanderson

Right now, I've got it like Mistborn--we're checking back in a year, as I need to give some things time to progress in world. We'll see when I actually write it, though.

Mrrobot112

Thanks! But please, don't do things like Alien 3-movie, if you know what I mean. It's when they did a time gap between two movies and at the beginning of the new movie they told you that your favorite character died during the time gap, deal with it. This is the worst thing ever and a reason I'm always a bit skeptical about time gaps in fiction. Just hate when things like that happen off-screen. Just don't do it with your books, please. At least can you promise you wouldn't? And what do you think about this trope in general?

Brandon Sanderson

I actually want to write an essay about that very trope (I call it the Newt Principle.) You might see it on my website at some point.

Things will happen during the gap, I'm afraid. You might like it, you might not, but I do plan some of the flashbacks in the second half to help cover this time--so you'll see it eventually. If it helps, I'm pretty sure I understand the dangers of the Newt Principle, and how to not fall into that trap.

Questioner

How many of the Stormlight Archive, how many are you planning?

Brandon Sanderson

There are two sets of five. The first five will come to a climax, and the second five are going to take place ten years later. Some of the cast will be the same. It's the same series but some of the cast will change. For instance, Lift is being seeded as a main character for that series. She'll be grown up, so she won't be quite-- She'll still be Lift, but she may not be quite as teenagery. She's a very special individual.

Renarin will be one of the main character in that series. Jasnah will be. And Taln and Ash, who are both Heralds that we barely see on screen in the current ones, they'll be main characters.

Brandon Sanderson

That's actually a really good point because often times you can also get away with things in fiction by making main characters who don't know what they are doing. Obviously, I couldn't do this when my character was a trauma surgeon. But, for instance, I'm pretty bad with horses. If you haven't read my books, I've ridden horses a couple of times, enough to know that people who really like horses really like you to get your horse stuff right.

And so, when I was approaching this series, I'm like, my character is the proverbial cabbagehead when it come to horses. He gets things wrong; he doesn't know what he's doing, and a lot of times if you do that, you not only give yourself a reason for your early readers, your beta readers, who know something about it to point out, "Oh here, here is a great way, here's what I see someone who doesn't know about horses do wrong." It's really fun, put it in the book; but it also gives you a sort of plausible deniability, where you're like, "Yes, that was from Kaladin's viewpoint, he has no idea about horses, he's describing it wrong. He's scared of the things."

Brandon Sanderson

Hrathen

So, Hrathen wasn't really dead. (Ironically, while many of you are probably saying "yeah, yeah. That was obvious," I actually didn't have him appear here in the first eight drafts of the book. I'll explain later.)

I think this is my favorite scene of this chapter. Not only is it written a little better than the rest of the book (I added it quite late–just this last summer) but it gives final closure to the Hrathen-Dilaf relationship. It uses Hrathen's time in Dakhor as an ironic twist against Dilaf. In short, it is a pretty good scene. Fulfills character, plot, and theme at the same time–while giving us a nice image to boot. (Though I do hate to do the "Hey look, a guy we thought was dead is really alive" twist.)

The story behind this scene is pretty recent. One of the original rewrites Moshe asked for was a fix of the ending, which he thought was too Deus Ex Machina. (Which, indeed, it was.) I don't think I'll go into the entire original version here–it was quite different. You can read the alternate ending in the deleted scenes section, when I throw it up next month. The short of it, however, is that Ien (Raoden's seon) showed up to save Raoden and Sarene from Dilaf. I used a mechanic of the magic system that I have since pretty much cut from the novel (since it was only in the book to facilitate this scene) that allowed Ien to complete his Aon, "healing" Dilaf. Except, since Ien's Aon was broken, it turned Dilaf into an Elantrian instead. (A non-glowing Elantrian. One like Raoden the group used to be–like Dilaf's own wife became after she was improperly healed in Elantris.)

I know that's probably confusing to you. The scene, over all, was just kind of weak. It relied on a barely-explained mechanic mixed with a tangential character showing up at just the right moment. When Moshe asked for the change, I immediately saw that I needed to bring Hrathen back to life for a few more moments. Letting him die on the street just wasn't dignified enough (though originally I wanted him to die this way because it felt more realistic.) I wanted a final confrontation between Hrathen and Dilaf, since it would give most people's favorite character a heroic send-off, and would also let me tie in the aforementioned Dakhor irony.

In the end, I was very pleased with the rewrite. It's good to have an editor.

Brandon Sanderson

Siri Is Taken to the God King, Then Discovers Who Is Really Behind the Attacks

I'm hoping that by this point, readers will be very confused about the nature of this third force that is attacking. I hope it's the good kind of confusion, though.

Let me explain. When I write, I sometimes want to inspire confusion. It helps keep the mysteries of the book shadowed and vague. It helps the reader connect with the characters, who—presumably—are also confused. But there's a danger here in being too confusing. If the readers think that they've missed something, or if they can't follow what is going on at all, then they will just put down the book.

The trick is to make certain to telegraph that the characters are confused as well, as I mentioned above. If the reader knows that they are supposed to be searching for answers, then it will be all right. (As long as it doesn't get prolonged artificially.) If, instead, they get the impression that the author has simply made a mistake and isn't explaining things clearly, they'll react very differently.

Anyway, I hope that you have the first reaction and not the second. The twist of who is really behind everything should come as a shock, but I hope that it's also well foreshadowed. The big clincher is the question that, perhaps, you've been asking this entire book. If the war is going to be so bad for everyone involved, then who could possibly be pushing for it to occur?

I've seeded quite a number of hints about the Pahn Kahl in the book. The first is Vahr and his rebellion, but there are a number of others. The first time that Siri assumes Bluefingers worships the Returned, he purses his lips in annoyance. We've got a lot of little hints like that that the Pahn Kahl are frustrated by their place in the empire. They controlled this land long ago; we discovered that from Hoid's storytelling.

It's well foreshadowed, but I still worry that it will be too surprising to people. This is primarily because I think that readers will just pass over the Pahn Kahl while reading. They're forgettable by design. Easy to ignore, and most of the other characters have trouble remembering that they aren't just Hallandren. They aren't an angry and vocal minority, like the Idrians. They're just there, or at least that's how everyone sees them.

One of my big goals for this book, however, was to have a good reversal for who is the bad guy pulling the strings. It's not the high priest. It's not the crafty god. It's not even the brutal mercenary. It's the simple, quiet scribe. It's one of the biggest conceptual reversals in the book. Hopefully it works for you.

Questioner

How do you go about jumping from something like Stormlight into a science fiction instead, of something like Skyward?

Brandon Sanderson

This is an interesting question for me because, as a writer, I don't look at genre trappings perhaps the same way that you might. I look at story structure and genre trappings as two very different things. Two very important things, but two very different things. And story structure is different.

For instance, the Bridge Four sequence from Way of Kings and the movie Hoosiers and the book Ender's Game are all what we call underdog sports stories. And those are three different stories in three different genre trappings. Modern-day, science fiction, and fantasy; and yet all three of them use the same plot archetype as the core of their story. And you'll find, for instance, that a buddy cop movie and a regency romance will sometimes use the exact same plot archetypes, despite being different subgenres. And so, as a writer, one of the things we do is we start to learn to divide plot archetype, character archetype, genre trappings, and all of these things to build the story that we want to with the feel we want to.

So that's kind of like, when people ask me, "Star Wars. Science fiction, or fantasy?" Well, it's a fantasy plot archetype. (Really, it's a western plot archetype, but they both use the same idea.) The plot archetype is fantasy, it's the hero's journey epic; and the genre trappings are science fiction. So I would place it in science fiction, but with fantasy underpinnings.

So when I'm moving from Way of Kings to Skyward, it's not so much about how the shift between fantasy versus science fiction is. Really, the things I'm looking for that are the big shift are: a narrow focus on one character, versus a wide focus on a large cast. That's the biggest difference for me. Also, the kind of setting-as-character in Stormlight Archive, where you're going to get to know this deep setting, versus setting-as-mystery, which is the setting archetype I'm using for Skyward. We don't know what the enemy is. We're trying to figure out what's going on. We don't know our past.

So those sorts of things, I look as very differently as a writer than I think maybe a reader might look at them.

Questioner

For a writer like yourself and Robert Jordan who both have very expansive and articulate universes, how much of the planning process do you do up front and how much do you let it develop organically as you write?

Brandon Sanderson

I am more naturally a planner, but both methods are valid. Robert Jordan was a little bit more of what we call a pantser. But every book changes as you're writing it. Like, I don't know if you've read Stormlight, but one of the main characters in Stormlight wasn't meant to be a main character until I finished the book and there was something wrong and I went through revisions, and added a character's viewpoint in to fix those problems, and then that sends a ripple through my whole outline, and you know, so stuff like that.

Questioner

How did this [Wheel of Time] help prepare you to write Stormlight Archive?

Brandon Sanderson

There's actually a good story there because Way of Kings, the first Stormlight Archive, is the book I was writing when I first sold Elantris. Elantris was my first published but it wasn't my first written, it was my sixth novel. It was the first one that was actually somewhat decent, but I was writing number thirteen when I got the offer on it. You'll find that's very common among authors. It doesn't happen to all of us, but a lot of us, we write for a long time before we get it done. And I just finished Way of Kings and it was not right yet. In fact when I sold Elantris, Tor wanted to buy two books from me, and my editor asked, "send me what I was working on right now". And I sent him Way of Kings and he said, "wow this is awesome, but number one, it's enormous. I'm not sure if we can publish this, at least in one volume, from a new author." Later on I was able to convince them it should be one volume, but that's when I had a little more clout and they could print more copies, which drives prices down for printing them. But also it just wasn't right yet. The book was not right. And I said to my editor, "I'm okay not publishing it now, because I don't know what's wrong with it." As a writer, I think it was just too ambitious for me at the time. I just couldn't do it yet.

It wasn't until I had written Gathering Storm in its entirety that I started to figure out what I'd been doing wrong. It was actually managing viewpoints was one of the things. During the reread of Robert Jordan's entire series, I noticed how he gathered the viewpoints together. You start writing a big epic fantasy series, and you feel like, they have so many characters and I want to start with that. In the original draft of Way of Kings I started them all over the world. I had all these viewpoints and things like this and the book was kind of a trainwreck because of it. Where if you read Eye of the World, Robert Jordan starts with them all together and then slowly builds complexity. Even in the later books, he's grouping the characters together. Even though they have individual storylines going on, they are in the same place and they can interact with each other, and there's clusters of them in different places. That was one thing. Working on Gathering Storm, I've learnt how to make my characters, also how to use viewpoints the way he did, how to manage subtlety--he was so subtle with a lot of his writing. Just some of these things, it all started to click in my head.

And I actually called my agent and said, "I need to do Way of Kings right now." And he's like, "Are you sure? Because you kind of have a lot on your plate." "I need to do it, it's going be fast, because I know how to do it now." So I actually took time off between Gathering Storm and Towers of Midnight and rewrote Way of Kings from scratch. It took me about six months, which is amazingly fast for a book that length. And then showed it to my editor and it was right this time. It's hard to explain many of the specifics. It's like, how do you know you can lift this weight after you've been lifting these other weights? It's when you've worked hard enough that you've gained the muscle mass to do it. And writing The Wheel of Time was heavy lifting. That's how it happened. I do apologize the sequel is taking so long. But after that deviation to do the first one which I could do very quickly, I couldn't stop to write the second one after Towers of Midnight because the second one would take too long and delay the last book too long. I am getting back to Stormlight now, and I am working on the second book, but I had other obligations first that were very important.

Brandon Sanderson

Each of the characters is a little autobiographical, mostly noticeable in retrospect. Raoden represents my belief in the power of optimism. I'm an optimist. I can't help it; it's just the way I am. And so, a hero like Raoden often grows to represent my beliefs. His conflict--that of being cast into the most horrific place in the kingdom--is an outgrowth of me trying to devise the most hopeless situation I could, and then make the conflict for my character the attempt to retain hopeful in the face of that.

Sarene represents an amalgamation of several people I knew in my life, most notably Annie Gorringe, a friend of mine in college. Not that Sarene acts just like her, of course--but that some of the conflicts in Annie's life, mixed with some of her personality quirks, inspired me to develop a character that ended up in my book.

Hrathen is as much a piece of me as Raoden. I served a mission for the LDS church, and while I did so, I thought often about the 'right' way to share one's beliefs mixed with the 'wrong' way. It seemed to me that focusing on the beauty of your message, mixed with the needs of the individuals you met, was the way to go. When you start to preach just to be preaching--or to convert not because of your concern for those around you, but because you want to seem more powerful--you risk beating the life out of your own message.

So, in a way, Hrathen represents my fears of what I could have become--a warning to myself, if you will.

Brandon Sanderson

Waxillium gets pushed to the brink, watching the robbery

I realize it's amusing for people to think of the process of this book, which began as a "short" story. Perhaps I'll post my original attempts at writing the book. As a matter of note, Wayne was the first person I imagined for this series. In very early notes I scribbled down, he was actually going to be a hatmaker. (If you can believe that.) He developed a long way from there.

Many of you may know that I wrote this book during my "time off" between finishing Towers of Midnight and starting A Memory of Light. However, the ideas for this story had been around for some time longer, perhaps a year or two. I decided I wanted to do some shorter stories between the first two larger-scale Mistborn trilogies, and . . . well, this is what "short" means to me, I guess.

Anyway, the first scene with Wayne I dabbled in (this was before the break) was him out in the Roughs riding into town on a kandra that had the body of a horse. It was a nice spin on a typical Western motif—instead of being the quiet gunman of Western cliché, he was a screwball hatmaker. And his horse was sentient and grumbling about having to carry him around; she wanted to get back into a human body as soon as possible.

The scene didn't work, though. I didn't get far into it. Wayne wasn't working for me as a main viewpoint character at that time, and I hadn't gotten around to filling out his character with the things he eventually became. (His "borrowing," his love of accents, his good nature despite a dark past. Things like this grew as his character became more deep.)

The other thing that didn't work in those original scenes was the fact that there was no Wax. Wayne needed someone to play off, someone to be dry and more solemn—but still make for good banter. And Wayne just wasn't a leading man. The story was wrong when it was just about him. I needed to tell a story about someone else and fit him into it.

That brings us to this sequence. When I planned the original short story, this sequence at the party was going to be the end of it. The Vanishers weren't in the book—it was just a simple gang of thieves taking a hostage. The prologue didn't exist, as I've spoken of earlier. It was a more simple story of a man coming into his own and deciding to fight again after losing someone dear to him.

For that reason, this sequence here—this chapter with the next—may feel like a climactic sequence to you, of the sort you often find at the end of my books. Originally, this was going to be the ending. (Though by the time I reached this chapter in the writing, I'd already decided I was going to make the story much longer, and had greatly expanded my outline. Hints of the story's origins can still be found, however. Note that we don't get a Wayne or a Marasi viewpoint until after this sequence when we hit the expanded outline material.)

Questioner

In Oathbringer, you kinda have themes of mental illness, right? Is that intentional?

Brandon Sanderson

Yes. It is intentional.

Questioner

How come you decided for...

Brandon Sanderson

Because several of the characters that I was dealing with had mental illnesses, and I let theme develop out of what the characters are interested in, what their conflicts are, and who they are. These themes kind of grow out of character.

Brandon Sanderson

Now, I would like to point out that I have been miss-represented. While I have a penchant for characters who avoid marriage, I have some (not as many, I admit) who look forward to it. Let's look at viewpoint characters in my current novel:

Jasnah: Female. Doesn't want to get married.

Taln: Male. Doesn't want to get married.

Shinri: Female. Eager to get married, and engaged.

Merin: Male. Never really thought about it (only 17) but not really opposed to it.

Jek: Male. Neutral.

Dalenar: Male. Has been married twice, and is currently married. Wanted to the first time, was forced into it the second time.

So, while I wouldn't argue that I tend to have a lot of characters who (perhaps) share my philosophy, I try to represent the other side as well.

Brandon Sanderson

Chapter Four

Waxillium enters the party with Steris

Alpha and beta readers had an interesting response to Steris. It was almost always passionate, many hated her immediately, some thought she was terribly flat, and others found her to be the most interesting character in the book.

I wasn't intending her to be so divisive, honestly. I'm very fond of her myself, and so I wanted to embed some strong personality quirks to perhaps make use of some day. Now, that's not to say that I will make use of them. I like to give some depth to side characters (such as Spook and Breeze from the original trilogy) so that, if the opportunity presents itself, I'll have something to work with in new viewpoint characters. It's kind of done by instinct these days, and it being there is no promise (unfortunately) that Steris won't end up dead.

However, I very much like that as you learn more about the situation, the way Steris acts becomes more and more understandable. Perhaps not rational, as she’s really only rational in her own head. But she is who she is.

Brandon Sanderson

Introduction: The Longer Version

Back in January this year, Wizards of the Coast approached me. Knowing of my love for their game, Magic: The Gathering, they were wondering if I would be willing to write a tie-in story for them. They mentioned since it was the 25th birthday of Magic, they wanted to do something special—and might be able to splurge on a Brandon Sanderson story.

I was, of course, interested—but went back to Wizards with a proposal that I think surprised them. You see, I knew they'd been doing some very interesting things with their stories in recent months. (The multi-part Dominaria sequence by Martha Wells is a good example, if you are interested.) I liked how they were using free stories on their website to both enhance the lore and give some work to talented writers.

Way back in the beginning of my career, one of the things I liked to do was periodically release free stories. Defending Elysium, Firstborn, and even Warbreaker are examples. Over the years, though, I've gotten busy enough that I haven't found a good opportunity to do this again. I liked the idea of doing a story for Wizards in part for this reason.

So I went back to them with a proposal: I didn't actually want payment for this story. I just wanted them to put it up for free on their website, and then if (later down the road) it generated any money by being in a collection or in print on its own, I wanted my portion of that donated to charity. In exchange for doing it for free, I wanted to be allowed to write the story my way. That meant me picking one of their settings, then developing my own characters and plot to happen there. (As opposed to writing the story for one of their official releases, as most of the other writers they hired were doing.)

It wasn't that I had anything against writing one of the main-line-setting stories. I just felt that in this case, I wanted greater flexibility. Beyond that, for several years now, I've had a story brewing in my head that I felt was a perfect match for one of their settings—a story I couldn't make work in the Cosmere, but which I really wanted to write.

Wizards was on board immediately—and so, "Secret Project" was born.

Regarding the Story

Wizards has a lot of great settings for the card game, so I had plenty of options. The story I'd been brewing was specifically inspired by their Innistrad set—a gothic horror setting with some magepunk elements underpinning it. It has had a very interesting evolution over the years, and was the setting for one of the best Magic sets of all time. Ever since writing Shadows for Silence in the Forests of Hell, I've wanted to do another horror/fantasy hybrid, and so I dove into what became Children of the Nameless.

I don't know exactly what Wizards was expecting of me, but I suspect a 250-page behemoth of a story wasn't it. (At 50k words, the story is roughly half the size of something like Skyward.) I have to say, though, working with them was an absolute pleasure. They jumped on board with the main character pitch I made, integrating him right away into the larger Magic story. They even went so far as to loop me in on conference calls, where I could explain my character concepts so they could develop art. I'd thought they might be worried about letting me go off on my own like this, but they were instead enthusiastic and supportive.

So, it is with great pleasure I present Children of the Nameless. Consider it a Christmas present from me and from Wizards of the Coast to you. I hope you enjoy it!

Questioner

I didn't know you listened to metal.

Brandon Sanderson

I do, I do listen to metal. I am not as much into it as I should. Like, all the cool little metal bands, I don't know as much as I should. But I've been thinking, one of my books, I am gonna write a metalhead as one of my main characters. So I've actually been hanging out on metalhead forums, and kind of reading about what they are talking about, "that's metal", "this is not metal" and stuff like that. Reading-- submerging myself in that culture. Because I think a metalhead advocate for metal would be a really great character one day.

Argent

It has to be in Mistborn!

Brandon Sanderson

No, it wouldn't, it would actually be on our planet, because I want to use our metalhead culture as the main character.

John

Although like stories and you know, plot characters, twists are all very important, for me a great story is made up of great moments and the question I wrote in the post there was about when Dalinar swaps his sword for the bridgemen and asks the question, "how much is a life worth?" and for me that was a moment where I had to put the book down because it was just so great, it brought the characters together and all these reasonings and all these visions, it all came to a head and I was thinking how many moments like these do you think a great book needs for example I mean other things I'd seen in that book was when Kaladin, he tells his men to come out after the storm and see him alive again or in The Gathering Storm when Rand is on Dragonmount and everything you know, he destroys the Choedan Kal. So how many moments like that do you think they need and can you give me an example of a great book that you love from another author's book where you think there is a great moment like those ones?

Brandon Sanderson

Okay, excellent, I'll start with the last one, one of my favorite books of all time is Les Miserables and it's full of moments like that and I'm going to have to pick the moment where Jean Valjean goes for Marius and brings him back through the sewers and things like that, moments like that are what makes books work for me.

What you're noticing is part of the way I design my plots. When I'm going to write a story I feel like I have to have moments like that prepared and planned that I can write towards. I will often go and turn on epic music of the right type--whatever I'm feeling is epic at the time--and go and walk or go on the treadmill, or do something active. And while doing that I will try to imagine what moments like that will be for this given book. What will be the really powerful character or plot moment that just make you want to put the book down and sit back for a minute and say "Whoa!"

I have to be able to imagine some of those for every book I write, otherwise I can't start the book. I write my books kind of... the points on the map philosophy, meaning I have to have something to write toward for me to get there. It's like having a map where you say, okay, I'm going to drive from one place to another and here are the places along the way I'm going to stop. I need to know where those places are and these places are usually these powerful moments and it's how I build stories.

yulerule

Are any of the interlude characters that we’ve met in other interludes?

Brandon Sanderson

You’ve met Axies the collector, and he appears in another interlude. Rysn is in an interlude in the first two books. You met Ash in one of the interludes and she’s going to be an important character, she’s very relevant. So I would say that a lot of the interludes have characters that show up again or are likely to show up again.

Brandon Sanderson

Chapter Eight

Wayne imitates a constable

Writing this Wayne chapter was a pure delight. It was here that I was finally certain that I had his character down, following the misstarts before changing to this version of the story. Here is also where I made the decision that I'd chosen right in expanding the short story to a novel. For me, a single viewpoint character often isn't enough to carry a novel. (Unless I'm doing a first-person narrative.)

Wayne, as a character, really grew into himself here. It is interesting to me how quickly he came together as I started working on this book. That first false start was awful—yet, once I started writing about him as a counterpoint to Wax, he just popped out fully formed, Athena-like, brimming with personality and strength.

I do worry that he'll overshadow Wax a bit—which is one reason why it's good to wait until chapter eight to give him a viewpoint. However, I think it is a matter of appeal. The two of them will appeal to different readers. I really like how the two play off one another and have different strengths.

By the way, I realize the cover has a problem with Wayne holding a gun. It wasn't worth complaining about, as I felt that there needed to be a gun on the cover to indicate the shift in the Mistborn setting. However, Wax's hands are both down low, so the gun really does need to be in Wayne's hand. Just pretend he's holding it for Wax.

Brandon Sanderson

Wayne shows up

Another aspect of the Mistborn books is the humor. I plan the humor in each of my novels specifically. In Warbreaker, the humor is all about wordplay and lofty back-and-forths. In the Alcatraz books, it's about being audacious, whimsical, and . . . well, a little insane. In The Way of Kings, it's more character-specific, certain characters engaging in different types of humor to fit the scene.

The Mistborn books have always employed a type of humor I'll call grim banter. Friends who know each other making jokes back and forth amid sometimes terrible situations. There's usually an edge to the banter, much how Kelsier would speak in the original trilogy. I wanted to maintain that feel, and so for this series to work, it needed to be founded on at least two characters who knew one another well and who were comfortable with insulting one another in the name of levity.

It was actually hard not to get to Wayne sooner in the book—even though this is only chapter two, he's a big part of the heart and soul of this story. I wanted to get him in quickly, as quickly as possible. This was the right place, I'm confident—he'd have distracted from Lessie in the prologue.

I'm pleased with how he turned out, by the way. He's vibrant enough as a person, with a good soul and a lot of quirks, that he quite often steals the show. That was a balance I had to work on in the book to make sure he didn't steal it too much. (Or, at least, too often.)

Brandon Sanderson

Chapter Five

One of the problems with The Way of Kings Prime was it had too many characters competing for the limelight. It lacked focus. One could argue that the published The Way of Kings is kind of all over the place itself—indeed, a lot of the plot threads don't connect until the end. (And then only in some limited ways.)

In the published book, I feel it works. Yes, the book is expansive, but we really only have two locations for our plot: the Shattered Plains and Kharbranth. In Prime, Jasnah and Taln both had major sections of the plot, in addition to Kaladin, Dalinar, Szeth, and the character Shallan replaced. It was just too much, and the thing never pulled together.

Fixing this was one of my main goals for revising the book. I started The Way of Kings over from scratch during 2009, between writing The Gathering Storm and Towers of Midnight. I knew I needed a tighter narrative.

At the end, I moved Jasnah and Taln out of the book for the most part. They will have stories later in the series, but for this book, Jasnah isn't a viewpoint character.

I'll dig into Soulcasting at another time.

Questioner

Who's your favorite character to write?

Brandon Sanderson

Usually the characters I look more-- forward to the most are the ones that are goofy.

Questioner

Wayne?

Brandon Sanderson

So like Wayne and Lift. Like, but not up to like-- Wit I-- is hard to write, right? It's the kind of wacky but don't have to be too clever characters that are most fun to write.

Mi'chelle Walker

Brandon, have we seen a point of view chapter from the character who writes the Ars Arcanum?

Brandon Sanderson

I’m not gonna tell you that. That would be way too much giving away.

Questioner

Is the character who writes the Ars Arcanum from Sel originally?

Brandon Sanderson

I’m not gonna tell you anything about the character who writes the Ars Arcanum.