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Warbreaker Annotations ()
#352 Copy

Brandon Sanderson

Chapter Twenty

Bluefingers Warns Siri Outside the God King's Chamber

I'll admit that many of Siri's thoughts here are complaints I myself have. She wonders why Bluefingers had to be so cryptic. It's a weak literary device, in my opinion, always having people with knowledge tease with it but never give the full truth. I hate it when I read stories where characters withhold information just because it needs to be withheld in the book.

At the same time, the only way to have a mystery is for there to be things the characters don't know. There can be legitimate reasons why someone doesn't want to speak or share what they know. In my books, I want those reasons to be good ones—which is why in the Alcatraz books, I never have the adults refrain from giving Alcatraz information just because of his age.

In this case, Bluefingers has very, very good reasons for what he does. I hope that it doesn't feel contrived for him not to speak further here.

General Reddit 2018 ()
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Jamester86

So something I've noticed in the fantasy genre that I love is that my 2 favorite authors (Sanderson and Rothfuss) don't use the traditional fantasy medieval setting (that I love) of castles, knights, feudalism etc. Now there are plenty of great authors that do (GRRMartin comes to mind as one that does it right), BUT the truth is, a good story eclipses all minor details like setting. An example I always give is that Patrick Rothfuss could write about brushing your teeth and it would make a fascinating read, and Sanderson would make an intriguing plot with amazing characterization throughout the dental hygiene experience. But I digress.

My question (If Brandon would be so kind as to show up, and if not, if anyone has any insight) is why; why doesn't the cosmere have any traditional medieval fantasy settings? Mistborn has keeps, but the society is not the traditional technology and setting of the medieval time period, nor do any of the other worlds given us.

Brandon Sanderson

There are both in-world reasons and writing reasons.

The writing reasons are obvious. I grew up on a steady diet of fantasy in a faux-medieval setting. I felt that some of these stories were really good, and enjoyed them--but at the same time, I felt the genre had been there and done that. In some ways, GRRM doing fantasy with the eye of a true medievalist provided a capstone to this era of fantasy.

When I sat down to write, didn't want to write what I was tired of reading. Dragonsteel (which never got published) was bronze age, White Sand was industrial, and Elantris was (kind of) Renaissance. (As you noticed, Mistborn is somewhere around 1820's. I modeled a lot of the society around the fascinating culture/industry of canals as shipping lanes that happened in England right before railroads took over.)

The other big reason, writing wise, is that I feel some of the magics that I enjoy dealing with in my settings need a certain near-industrial mindset to be interesting. The stories I want to tell are about people applying scientific principles to magic--and about the commodification and the economics of magic. Those are early-modern era stories.

The in-world reasoning I have is that on some of these planets, those eras existed--but the books are taking place when the stories of the worlds start smashing into one another. In addition, however, the Shards have an influence on this, because of things they saw happen on their own home planet.

Manchester signing ()
#355 Copy

Questioner

My question was about your writing process... When you are writing do you become emotionally attached to the characters you are writing about? Does it become hard to distinguish between what you think the characters should be doing and what you actually have planned out for them? And how did that affect your Wheel of Time writing? You didn’t create them, but you took over their story arcs and did you become attached to any of those?

Brandon Sanderson

What an excellent question. I do grow attached to all of my characters, however character is the weird one for me. Character is very hard for me to define how I do it. With my plot I can talk about outlining the plot and these sorts of things. And my worldbuilding, I've written lots of essays about worldbuilding, and building magic systems and things like this. But with character I really sit down with this plot, this world, together and I start writing somebody in a role and I write a chapter and I see how they feel. It's almost like casting someone in the role. If that doesn't work, then I get rid of them, I get rid of that and I write a new chapter using a different character's personality but who feels very much the same in some ways. For instance, Mistborn,  I did this quite famously, Vin started with a guy, I tried Vin as a guy and then I tried Vin as a woman, but a different, a very different person from what you read, who was very confident and more Artful Dodger type person, and then I tried the Vin that ended up in the book. I can't really explain to you why I knew those first two were wrong, they just were. So I ditched them and tried again. I do that until I've hit the right character and then I let them start growing and developing as I write the book and if the person they turn into is not the person who would do the sort of things that are in my outline I either have to change my outline, which I will sit down and do, or I'll say "this character is awesome but they don't belong in this role. I will write a book around them later, and find a place for them." And that's-- Usually I just re-write the outline, once in a while I pull out the character and put someone else in that place. If a book is going wrong for me, it almost always because of one of the characters, something is wrong with them, and I wish that I could explain it better. It's actually really thrilling for me, when a character is alive and working well enough that I know they wouldn't do what is in the outline. That's not a sad moment that's a "Aha! I've got something good here. This character is working, they are strong enough on the page that they can balk these constraints that were placed upon them." Because an outline, while it is a great tool, the danger is that the outline constricts your story and it doesn't allow it to actually feel alive. This is when you get these wooden characters that just kind of cardboard cut-out through a book. That's when often the outline just takes too much-- takes over too much of the characters. So it's exciting, but it can be very frustrating when it's not working.

It did happen with the Wheel of Time but in a different way. The Wheel of Time characters were like my high school friends growing up, these were my buddies. I was a nerdy kid who sat in my bedroom and read books, and these were my friends. So writing them I was really worried that it would be difficult to write them. But it was actually very easy, their voices snapped for me quite quickly, I knew what they would do. So much in fact that Mat was a little off in Gathering Storm, I didn't notice it because I was so used to characters coming very easily to me. And yes I feel very much in love with writing them and these sorts of things because of these sort of things but it was because of my past familiarity with them that allowed me to do that.

The Way of Kings Annotations ()
#357 Copy

Brandon Sanderson

This chapter in particular was a challenge to write. My experience with Sazed in The Hero of Ages warned me that a character deep in depression can be a difficult and dangerous thing to write. Depression is a serious challenge for real people—and therefore also for characters. Additionally, it pushes a character not to act.

Inactive characters are boring, and though I wanted to start Kaladin in a difficult place, I didn't want him to be inactive. So how did I go about making scenes of a depressed fallen hero locked in a cage interesting and active? The final result might not seem like much in the scope of the entire novel, but these chapters are some of the ones I'm the most proud of. I feel I get Kaladin and his character across solidly while having him actually do things—try to save the other slave, rip up the map, etc.

Syl, obviously, is a big part of why these scenes work. She is so different from the rest of what's happening, and she has such stark progress as a character, that I think she "saves" these chapters.

You might be interested to know, then, that she was actually developed for a completely different book in the cosmere. I often speak about how books come together when different ideas work better together than they ever did separate. Kaladin and Syl are an excellent example of this. He didn't work in The Way of Kings Prime, and her book just wasn't going anywhere. Put them together, and magic happened. (Literally and figuratively.)

The Hero of Ages Annotations ()
#358 Copy

Brandon Sanderson

Chapter Fifteen

Ham

I've expressed before that I wish I could have done more with Ham. Of the main crew, he's the only one other than Clubs who never got even a token viewpoint in the series.

I just didn't have the time for everyone. Perhaps, as I write more and more, I'll get better at covering more ground with fewer pages. That will let me branch out into studying more of the lesser characters and rounding them out. However, for this series, I had to pick and choose carefully. Ham's story didn't have enough conflict, tension, or growth in it. So, I went with Spook and TenSoon instead.

The Hero of Ages Annotations ()
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Brandon Sanderson

Drawing upon the Mists

Vin draws upon the mists here for the second time. I kind of wish I'd been able to make her do it in the second book somewhere, but I decided to back off on that plot in book two. The thing is, Vin drawing upon the mists is kind of deus ex machina, and I didn't want to make the entire series about that. It's a mystery to be explained, true, and was worked into the magic system from the beginning. But I can't deny that it feels like it comes out of nowhere.

So, having her use her ability to draw upon the mists here was an attempt to have that happen sometime other than a major climax moment, reminding the reader of what happened back in book one so we can begin to delve into what was happening and why.

Goodreads Fantasy Book Discussion Warbreaker Q&A ()
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Ashley

Do you spend the most time on your magic systems, or do you find yourself spending equal amounts of time on other aspects of worldbuilding/plot such as religion/culture/language/geography? 

Brandon Sanderson

It really depends on the novel. With some I spend a lot of time on areas that in others I don't spend much time on at all. With every book I spend a serious amount of time on the magic system. That's consistent—it's just something I like to do.

For a given book or series I may spend more time on a given aspect. I'd say the other big aspect that takes a lot of time is characterizing the characters the right way. That takes a lot of work, but I tend to do that during my actual writing period, whereas I spend the planning period focusing on worldbuilding and plot. It's when I actually sit down to write a chapter that I explore who a character is, and so it's really hard to pin down timewise which one I spend more time on. And that varies based on the book.

General Reddit 2018 ()
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Doomquill

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.

Peter Ahlstrom

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.

Firefight Miami signing ()
#362 Copy

Questioner

How would you have changed Steelheart from Young Adult to Adult.

Brandon Sanderson

More viewpoints. I probably would have shown other peoples-- like, a Prof thread would have been a big part of it. The big difference for me, for the Adult and the Young Adult is the characters you're focusing on, and the number of viewpoints. That's the basic thing I change.

Questioner

Not so much about violence, or anything along those lines?

Brandon Sanderson

No, not really. For a middle grade, I will probably hold back a bit. That's why Rithmatist, which I consider middle grade, is a little less. But Steelheart-- Generally, in the business, we consider YA to be the genre that is not edited for content, and middle grade to be the one that is. And that's just-- Based on what's going on with teens, and things like that.

The Alloy of Law Annotations ()
#363 Copy

Brandon Sanderson

Chapter Nine

Wax and Marasi talk philosophy and his past

This sort of thing is another hallmark of the Mistborn books. (And, well, perhaps my writing in general.) I intended this book to be faster paced than what I term an "epic" like any of the books in the original trilogy. I wanted to move at a fair clip and not get slowed too often by conversations like this one. However, conversations like these are what add depth to characters for me, so I didn't feel it right to cut them completely.

Here, we get to see Waxillium's and Marasi's different views on life, the ways that who they are ground what they do. Waxillium is a realist. He sees things as they are. (Or how he thinks they are, at least.) He has a touch of a philosopher inside of him, as he wonders about what the truth is—but he wants to find that truth, prove it. He's not unaccommodating or harsh, but he does believe in absolutes and wants to find them.

Marasi is more interested in extremes because they're interesting, not because she is seeking for truth or reality. She's like a moth drawn to flame, fascinated by outliers. She's good with numbers and statistics, and can find those outliers; then she reads as much as she can about them. She could name for you every serial killer in Elendel's history, and talk about their lives and what led them to do what they did. She wouldn't consider it morbid, just fascinating. Wax, reading the same thing, would find his eye twitching. He'd get through a part of the reading, then find himself out on patrol, trying to run across someone doing something wrong that he could stop.

Words of Radiance Portland signing ()
#364 Copy

Swamp-Spirit

How do you-- Like both Shallan and Kaladin obviously haven't had good lives, but like-- How do you write these really tragic backstories without them feeling kind of gratuitous or forced?

Brandon Sanderson

Good question... This is really about the whole idea of making sure you are avoiding melodrama... And melodrama-- the defining aspect of a melodrama is a story in which each character only exhibits only one emotional state. A great example of this done poorly is--despite me liking a lot about it--there was a show called Lost... So there's a character whose son gets kidnapped, and from that moment on the only thing he cares about or talks about is the loss of his son. And it's a very tragic thing for him. Losing your son, I can imagine how tragic that would be, and yet this character became so defined by that one attribute that it turned into melodrama for him. The rest of the characters will be standing around saying "Alright we need to do this thing, these guys are over there with guns, they are going to take us down. What do we do?" And they're like "We should do this." "We should do this." and this guy is like "My son!" They're like "We know you want your son back but--" "My son!" "What do you want for dinner?" "My son is gone! How can I eat dinner?!?". And so having a character exhibit only one emotional state is always going to feel like you just set-- It's going to ruin the character, whatever that is.

So a tragic backstory-- People joke about Batman. When Batman is written poorly it's always about "My father's d-- My parents are dead" and when he's working well that's an aspect that influence things he does but it's not the only thing about him. And so that would be my warning to you. You can do all of these sorts of things but make the character's not about-- You know we are in part defined by things like this but as real people we are not about the bad things that have happened to us, we are about so much more. And make that the case, alright?

Stormlight Book Four Updates ()
#365 Copy

Brandon Sanderson

Hey, all. Brandon here, back for another update on your book.

January went well, and the outlining process is moving along. I've set the percentage bar perhaps a little higher than it deserves to be, considering that I plan to get the outline for Book Five done as well y the time that hits 100%, but I haven't started it yet. That said, I'm feeling very good at what I've accomplished so far. I've cracked a few tricky problems in the plotting, ones I anticipate being the toughest parts of the outline--which makes me optimistic that I'm further along than the wordcount might indicate.

I did have to stop to do a quick 3.0 revision on Starsight, the sequel to Skyward, which is coming out in November. That's finished as of around 1:00am this morning. I'll be diving back into Stormlight now, though I'm in LA this week doing pitch meetings for Dark One as a television show. (So far so good, but these are very preliminary-type meetings, so don't expect any big announcements anytime soon.)

Plan is to be finished with the outline of Book Four by March 1st. (Tentative title: The Rhythm of War, but I'm not 100% on that yet.) Then I'll dive into the book.

Writing a Stormlight book is not an easy or quick process. To finish on time, I'll need to do 40k words a month every month this year--which is a tall order. (My average is around 30k a month, though, so it's not impossible.) That would have the first draft done by January 1st, then give me six months of grueling revisions to finish the final draft by July, which would allow a Christmastime release. This isn't set in stone, though, and if I don't meet this schedule the book could slip into the beginning of 2021.

For now, I'm going to solicit a little help from you. While writing Stormlight 3, I built a specific playlist of some of my favorite epic-fantasy-feeling songs. I've posted it before, but if you missed that, find it here.

You can click on my profile to find the similar playlist I made for Skyward. I have been searching through other playlists people have made on Spotify with the right kind of music so I can build a similar playlist for Stormlight 4, but I thought I'd kick the question to you folks as well.

Do you have any suggestions? What songs in specific (songs are better than artists, as I try to keep my playlists varied with only a couple of songs from any one given artist) do you listen to while reading the Stormlight books? What songs would you suggest to me that I listen to while writing the book? (Other than the Kaladin album, of course.)

Generally, I prefer things that have an epic instrumental feel to them--though I don't mind words here and there. And I get tired of things that sound TOO trailer-esque. (Inception sound. Inception sound. Inception sound.

For reference, my favorite song on the Oathbringer playlist--and the one I play in my head at the climax--is Alive by Phil Lober. Anyway, please suggest things for me to put on my playlist. Songs that are on theme, or even songs you just think are epic for whatever reason. (Though do look through the other two playlists I've made first, to double check the song isn't on one of them. I probably won't put any repeats on this playlist.)

And as a final note, I won't be having replies from this thread sent to my inbox, and I don't know if I'll have time for many specific replies to questions. But I do plan a more involved AMA sometime in the near future, where I can answer questions. I will also hop back on the thread at some point and grab the suggested songs.

Anyway, I'll give you another update when the outline is finished. Until then, Journey before Destination.

Skyward San Diego signing ()
#366 Copy

Questioner

Lopen, from the end of The Wheel of Time; and Lopen, from Stormlight Archive. Do they have anything in common?

Brandon Sanderson

Lopen, is there a character in Wheel of Time called Lopen? ...Must just be a coincidence, then. *laughter* I didn't write any intentional Wheel of Time references to my books, or anything like that. The only cameo sort of thing there is in there for me is, the sword that Robert Jordan's cousin gave to me out of Robert Jordan's collection, I wrote into the book. Kind of in the same way Robert Jordan wrote himself into the books as a ter'angreal that had lots of stories in it, that they discovered was his cameo for himself. I wrote in my sword. So my sword, that they gave me, which has painted dragons on the scabbard that look a lot (in my mind) like the ones on Rand's arms. And I don't know if he got that from that katana that he was given, but it was the one they gave my out of the collection, so I wrote it in. But any other connections you think you run into are going to be just coincidences. I do have a fondness for certain types of names.

Stormlight Three Update #2 ()
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Sophus_Lie

In general, you steer clear of offensive language in your books. All well and good, but then in Words of Radiance Adolin uses the verb "shat". What exactly is it that makes the past tense less offensive?

Brandon Sanderson

Nothing in particular. I don't find the word offensive myself, but I avoid it because it just often doesn't feel right for more stories. But in context, sometimes, the right word is just the right word. It felt right to use it there, as the term Adolin would use.

Legion Release Party ()
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Questioner

How do you decide what perspective you put it in? First person, third person?

Brandon Sanderson

A lot of it depends on the number of viewpoints I'm gonna have for a book. It's a pretty easy thing, but if I'm gonna have one viewpoint, I'll put it almost always in first. Not always, but almost always, because I can use the tools. Genre influences it also. First person's more prevalent in YA than it is in adult. And kind of, like, what tone do I want for it? Like, the first person book I'll do in the Cosmere, I probably won't do one until I do Hoid's book. Because he's the storyteller telling you the story. And the other ones, I want to be trustworthy, like the narration of which, even if a specific viewpoint is untrustworthy, the narration is trustworthy.

Oathbringer Glasgow signing ()
#369 Copy

Questioner

Yes, or no. With all of the cosmere books that have been put out, do we have enough information to deduce the Ghostbloods' motives?

Brandon Sanderson

Ummm... *laugher* I would say yes, but it's not like you are a fool if you haven't gotten it.

Robert Jordan once answered a question like this saying, "Well, the answer should be intuitively obvious to the casual observer." Which I never thought was fair. Like, no, it was not. Szeth, some people guessed it. And some people will guess this. A lot of the foreshadowing in my books, it's this weird thing where, when you do proper foreshadowing, and then people have three years between books, they're gonna figure some things out. Which presents a really interesting challenge to me as a writer, because, like, there are big things that get revealed in Oathbringer, that people who have been steeped in the world for the last seven years... they kinda knew this would happen. We get the beta readers, and they're like, "So? Doesn't everyone know that?" But at the same time, the casual reader, beta readers were like "Holy cow! This is a huge revelation!" And books need to work both for the person who has been really steeped in it, and the person who's reading along that maybe doesn't want to go get all the spoilers from all the fan guessing. So it is this weird balancing act that, as a writer, you have to perform, particularly with the longer books in the longer series, where you want to make sure they're engaging to the hardcore fan, but not overwhelming to the person who maybe hasn't reread the books since the last one came out. And I don't know that I have that balance figured out, but it is something I think about a lot...

The Hero of Ages Annotations ()
#370 Copy

Brandon Sanderson

Chapter Twenty

What TenSoon Doesn't Know

Remember that TenSoon doesn't know what happened at the end of the second book. This was kind of hard for me to keep in mind, as I kept wanting him to mention the day mists and the troubles up above. However, he left before the Siege of Luthadel ended—he doesn't even know that Vin survived the assault on the city, let alone that she found her way to the Well of Ascension.

I considered having TenSoon overhear some kandra guards discussing these events so that he could use the information in his speeches, but I decided that would seem too contrived. He had to get along with what he knew, not what I wanted him to know.

Firefight Seattle UBooks signing ()
#371 Copy

Questioner

How do you like to do internal monologues or thinking between different characters who are very similar to each other.

Brandon Sanderson

How do I like to do internal monologues and thinking between different characters who are distinct from each other. I just try to make it be in their voice. I am a person who likes to put thoughts directly in someone's head, so you'll see them in italics. And I try to keep to their voice as much as possible, so if they have linguistic quirks I put them into the thoughts.

ConQuest 46 ()
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Brandon Sanderson

So the question is: I use a lot of religion in my books how do I balance that with my own personal beliefs?

So, I'm a religious person and what this has done to me in specific is make me really interested in how religion affects people or how the lack of religion affects people. I find that the real fun of reading and writing, raising interesting questions, and approaching a topic from lots of different directions, is a thing that is really fascinating to me. I ascribe to a school of thought that I kind of-- this is a little unfair to these gentlemen but I kind of divide it among the Tolkien and C.S. Lewis line of those two were famously in a writing group together, and if you don't know Tolkien actually converted C.S. Lewis to Christianity, which is very interesting, and they were both deeply religious people, and they approached it very differently in their fiction. C.S. Lewis felt that fiction should be didactic and teach you a lesson and Tolkien repeatedly refused to tell people what he thought the themes in his books were. When they would come up to him and say "It's a metaphor for World War II, isn't it?" he would say "No, it's a story." And I am more a Tolkien than a C.S. Lewis.  I like with fiction-- I consider myself a storyteller primarily, and I hope that a good story is going to raise interesting questions but that has to be focused around what the characters are passionate about and what they are thinking about. And so I try to populate my books with people who are asking interesting questions from a variety of different perspectives.

I said on a panel I was on yesterday "Nothing bothers me more than when reading a book where someone has my perspective, there's only one person, and they're the idiot. Whatever it is that they are an idiot about that I agree with."  And I'm like ahh can't you at least present my side-- I want everyone who reads my books, regardless of their religious affiliation, if they see something like their own belief system in there I want them to say "Yes, he's presenting it correctly." And part of that means that I have to approach my fiction in certain ways, for instance, I like fiction that is ambiguous to the nature of deity, if there is one. I want-- If you can create a book with really cool atheist characters and then go "By the way here's this all powerful, all knowing benevolent god that he's just refusing to acknowledge" that undermines that character completely. And so I create my fiction so that the different people on the sides of the argument, just like in our world, have good arguments on both sides. And I think that if you present characters with interesting choices, making interesting decisions you will-- truth will rise to the top. That's kind of one of the purposes of fiction, is to discuss these issues. So that's kind of a roundabout answer to your question, that as a person of faith how I approach writing my books. I'm not sure if it's the right answer, but it's the answer I've been giving lately.

Warbreaker Annotations ()
#373 Copy

Brandon Sanderson

Vivenna Returns to a Ransacked Home

I'm a little annoyed at myself that it took so long to introduce Jewels. Here we are in chapter seventeen and she still hasn't shown up. She barely gets a mention here. Unfortunately, I knew that her arrival would present problems for Vivenna, so I felt the need to put it off until Viv was attached enough to the mercenaries that she'd be able to overlook a certain "pet" that Tonk Fah talked about earlier.

General Reddit 2017 ()
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WisdomDoode

I think he is a bit hesitant to incorporate these stuff openly because he thinks that it might be perceived as tokenism. Do I have it right u/mistborn ?

Edit: If Mr. Sanderson decides to show up; the deleted comment was about you mentioning one of your characters was gay but he didn't get a chance to date anyone yet therefore it is not really out there.

Brandon Sanderson

It's partially that, certainly. But in the case of Bridge Four, it's more about the fact that the guys just haven't had time to start many relationships. It's only been a few months, in-world time, between thinking they were doomed to having respectable jobs. Give the fellows some time. Most of the guys, gay or straight, are looking. (Excluding the married ones and the asexual one.)

Wisconservationist

I hope I didn't offend, it was exaggeration for effect, nor do I think the lack of sexual depiction or even mention is done ham-fistedly, there's always a well formed, even subtle, reason WHY your characters don't tend to be particularly sexual, at least not the major POV characters, be it culture or circumstance, I've just noted that it's something of a theme, which I ascribed, perhaps erroneously, to "delicate mormon sensibilities".

Brandon Sanderson

I wasn't offended. I do tend to respond quickly to threads, however, so I know I can come across as terse sometimes. No worries.

By way of conversation, you might enjoy a story from when I was writing the second Mistborn novel. My editor called me one day, and said, "All right. I can't figure it out. Are Vin and Elend having sex or not?" I said, "Of course they are. They've been together for over a year at this point." His response was, "Well, why not say so?"

It was the first chance I had to vocalize something that I hadn't even really figured out myself--something that just felt like the right way to tell my stories. I explained that there were many readers, like my sister, who wanted to be able to pretend that the male lead and female lead in the story were going to do things the way she wanted them to, with a level of chastity that made no sense in the culture. There were other readers who would want to imagine wild Allomancer sex happening every night.

In this case (though it may not be every case in my books) I felt it was best not to intrude as the author, as what was going on in the bedroom wasn't plot relevant. In addition, there was a certain...privacy I wanted to afford them, because of Vin's difficulty with intimacy in the first place. I don't know if that makes any sense or not, but while Wayne's sexual exploits can be front-and-center, it felt specifically wrong to go into Vin and Elend.

That said, I'm totally a prude. The Daenerys chapters from A Game of Thrones, for example, were too much for me, and are a large part of why I didn't continue with the series despite thinking the first book was very well written.

You should go listen to the Writing Excuses episode we did where we interviewed an erotica writer on how to write sex scenes. Mary spent basically the entire episode poking fun at me. (Though I'd like the record to stand that I was NOT blushing as much as she implies on the recording.)

The Alloy of Law Annotations ()
#375 Copy

Brandon Sanderson

Wayne's Backstory

This was the final piece of figuring out who Wayne was. When I'd toyed with him as a character in the original short story, I'd intended for there to be something like this in his past. In the case of this book, however, I didn't decide upon it until I was quite a ways into the story.

I've mentioned that when it comes to characters, I often "discovery write" who they are. Meaning, I work my way into them as I write. With plots and settings, I tend to do a lot of planning and know pretty much where I'm going from the beginning. But with characters, I do a lot of exploring. If a book isn't going well for me, it's often because I can't get the characters down the right way.

That stated, one might wonder why I don't just plan them out like I do my plots and settings. It's because it doesn't really work for me to do it that way—the characters don't stick to the plan in the same way that plots do. I've found that I need this element of improvisation in my writing to give it authenticity. The characters have to breathe in a way that the plots don't need to, for me. I have to let them be more real, in a way, though I'm not certain if it's possible to explain this process.

Anyway, my instincts said there had to be something in Wayne's past like this, and I had felt for a few chapters it had to do with why he didn't use guns. But until I wrote this chapter, I hadn't settled on how it was actually going to have played out.

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Brandon Sanderson

Chapter Two

TenSoon

I wrote the TenSoon chapters separately from the rest of the main storyline. (In fact, I wrote in three sections, since I did Spook as a chunk as well.) So when I wrote this, I didn't know exactly which chapter in the book it would be.

I decided to place it early. Not only did I feel I needed something short to split up the two big Elend chapters, but I wanted to introduce TenSoon as soon as possible. His chapters were the favorite of many of the alpha readers, as they offer a completely new experience and mark our first viewpoint in this series from a creature of a different species. (As I think about it, this is probably the first viewpoint in any of my books from a nonhuman.)

This chapter is short, mostly giving background and setting the stage for TenSoon's viewpoint chapters. I found it curious that I got such a good response from readers about his chapters, since TenSoon is forced to be mostly reactive. He's imprisoned, undergoing trial. He can't really do much other than speak. Yet readers found the chapters compelling and interesting.

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Brandon Sanderson

Chapter Seven

Avoiding Hints about the Epigraph Author

The epigraph to this chapter, where the epigraph author discusses that he/she is going to refer to each group as "we" is very important, though most readers skip over it. What she/he is saying here is that you aren't going to be able to guess who he/she is simply by looking at which parts of this book she/he discusses. And that's all I'm going to say, because typing he/she all the time is getting very annoying/frustrating.

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Daz925

Where were you in your writing process for Elantris-- I know it was your sixth book and you were on your nineteenth when you got it published or--

Brandon Sanderson

Yeah, good question.So, where was I in my process when I wrote Elantris and when I got published, which was my sixth novel. So what happened with my career, it's kind of a very weird thing. You find that everybody has a different path to success as a writer. I heard early on that your first five books are generally terrible and this was really relieving to me, because I--a part of my brain-- this would not-- someone else, this might've been the worst thing to tell them. But for me it was the best thing because my brain said, "Okay, good, you don't have to be any good at this for your first five books".

And so my first five books I experimented quite a bit in story and tone. I did a gritty cyberpunkish thing. I did a comedy. I did an epic fantasy. I tried a lot of-- I did a space opera. I did a lot of different things. And once I had done all that, I came back and said, "You know, my first love is epic fantasy, and it's what I really want to do." So I sat down to write book number 6, which was Elantris.

And at that point, I had gotten a few books underneath me. I kind of knew what I was doing, though I was not-- I hadn't figured out my process quite as well as I would have liked. Elantris and a lot of the books during that era I did a lot more discovery writing, and I naturally am better when I have a stronger outline. But that's where I was.

My biggest weakness as a writer at that point was revision. I had spent those five early books just trying different things, and that permission for me to not be good yet also kind of gave me the psychological ability to be like, "Well, I don't have to revise this one, because I don't have to be good yet." But what that meant is I didn't practice revision. So once I finished Elantris, I was not good enough yet to know how to take a good book and make it great. So it went the rounds in New York and got rejected; rightly so, because it was very flabby and had not been focused. And I know, from a guy who writes thousand-page books, focus is a weird thing to say. *laughter*

And so, when I actually sold Elantris to Tor, it was after it had gone through four or five drafts and I had finally sat down and kind of buckled down and said "I need to learn revision and learn how to make my books better". So I sold it right after-- right while I was working on Way of Kings in 2002, 2003, somewhere around there.

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Questioner

Do you have any sort of set pattern for when you are getting ready to do a rewrite on a novel?

Brandon Sanderson

Yes, I grit my teeth, bang my head against the wall, and try to do anything else except the rewrite.

Questioner

Yeah it's...

Brandon Sanderson

You must be like me then, I hate revising but deadlines are what make me do it. Setting them on my own, you just have to learn to do it. The number one thing I think held me back as a writer is my dislike of revision. And it wasn't until I learned to do it...

Questioner

And just get it done...

Brandon Sanderson

...and just get it done that I started writing books that would be publishable.

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Phantine

Stormlight has a lot of parallelism with Mistborn, but with protagonists who are now on the other side of the slave revolt. In particular, there's a very strong through line going from Kelsier to Miles to Moash, with characters attempting to overthrown a corrupt system being treated differently by the narrative in each case.

How much of this inversion is intentional? I know Warbreaker had a lot of deliberate parallels to Mistborn.

Brandon Sanderson

This is pretty intentional. I like to approach things from different sides, and I knew Stormlight was about the establishment, while Mistborn about the revolutionary. I like to try to show both sides of things like this, when I can.

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David Zampa

Do you ever get so creatively exhausted from producing so much that your mind feels like an old wrung-out sock? And if so, what do you do to get yourself back on form?

Brandon Sanderson

That's an excellent question. I have an advantage over a lot of writers in that I was really bad at this when I started. That may not sound like an advantage; but what it meant was I wrote for a long time, trying to get to a level that I was equal to some of my peers, who were much more talented, I feel, than I was when I began. And because of this, because of these long years learning to be a writer-- And certainly, I can't say I didn't have some talent. Some of what has happened is raw luck of the draw that I was able to learn how to write. What happened is, I got very accustomed to changing projects frequently and trying new things. And that process became very interesting and exciting to me and became the process by which I recharge. The way I recharge is by doing something new. And it has prevented, so far in my twenty-some years of writing, me from really ever experiencing severe burnout. Once in a while, I get really tired of the story I'm working on. Generally during the fourth or fifth draft of that story (or if it's Memory of Light, the twelfth draft). Sometimes, you get very, very tired. I do. But, because I have this sort of fallback method of "do something very different," that spark usually just lights me right back up, and I get really excited about doing something new.

And so this is why you see me writing a lot of different things. It's why you see me releasing Oathbringer, a large epic fantasy. Followed by my next book being the Legion book in about two weeks, which is a detective modern-day with slight science fiction elements. And then a YA space opera [Skyward]. This is why I hop between these different things. And really-- I haven't gotten burned out yet. I'm always excited for the next things.

Cassie Roberts

How do you not get overwhelmed by all the books that you want to write?

Brandon Sanderson

There's a very good question in that also. Because, as I get older-- When I was young, my brain, I could tell myself, "Well, I'll be able to write all of these someday. I just have to put them in order, and write the ones I'm most excited about right now." The older I get, the more I realize I'm not gonna be able to write every idea that comes to me. And I have this core line of the Cosmere books that I'm going to write. But a lot of times now, it is a little overwhelming to realize, "I have this really great idea for a story. But it's not quite as great as the other ideas in the list. And it just is probably never gonna get written." And there's kind of a story triage that goes on in that regard. And it can be a little overwhelming sometimes to realize, "I just can't do this story." And that's something I'm coming to terms with, the older I get.

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Anushia Kandasivam

So, Brandon, you just introduced a really amazing female character [Spensa] to us. Your female characters throughout all your books are resourceful and independent. Some of them are leaders, some of them go through very interesting journeys of growth and self-discovery. Some of your female characters, like Vin and Sarene, they have mentors and teachers who are men, but their decisions about who to be and what to do are always their own. They always have agency. Was it a conscious choice to write these female characters and their journeys like this, and can you tell us if the process was easy or difficult?

Brandon Sanderson

So, there are a number of different responses to this. One is, I came into fantasy by way of some excellent female novelists that I highly recommend. Barbara Hambly was my first experience with fantasy, and then Anne McCaffery, Melanie Rawn, and Jane Yolen were kind of my introduction to fantasy. It's how I got pulled into it-- To the point that when I was first given a David Eddings book, I was hesitant, because I was like, "Is this a genre guys can write?" was my honest reaction to that. So, when I started writing my own books, I knew I wanted to do a good job with this, but I was really bad at it at the start. It was very embarrassing to me as a writer. And this happens to all new writers. There are things that you want do that, in your head, you imagine yourself doing very well, and then when you start out, you just do poorly. And the later in life that you start writing your stories, the more you're generally able to recognize how poorly you're doing things that you want to do well. And my very first book, that I didn't publish, particularly the female lead was very generic, and written very much to fill the role of the love interest rather than to be a character. And I recognized it, even as I was writing it, but I didn't know how to do it differently. And it took practice. It took a lot of work. It really shouldn't, on one hand, right? Write the characters as people. rather than as roles. That's what you have to learn is: everybody is the hero of their own story in their head. They're the protagonist, whoever they are. And writing the characters so that they view themselves that way, and so they have autonomy, and they aren't being shoved around by the plot or by the protagonist, or things like this, but it's just very hard to do. I had a lot of early readers who were very helpful. I often credit my friend Annie as being one of the big reasons why Sarene eventually ended up working in Elantris. And she gave me some early reads, and things like this.

But, you know, it is hard to abandon our own preconceptions that we don't even know are there without practice, effort, and somebody pointing them out to you. And it was just a matter of practice and trying to get better. And I still think that there are lots of times I get it wrong. And you mentioned Mistborn. And I was really determined that I was going to do a good female protagonist. I try to stay away from the kind of cliched term "strong female character." Because we don't talk about "strong male characters." We talk about characters who are distinctive, interesting, flawed, and real people. And I was determined to do this with Vin. And I feel like I did a pretty good job. But, of course, I had a completely different blind side in that I defaulted to making the rest of the crew that Vin interacts with all guys. This is because my story archetype for Mistborn was the heist novel, the heist story, and my favorite heist movies are Ocean's Eleven and Sneakers and The Sting, and these are great stories. I absolutely love them. But they all are almost exclusively male casts. And that's not to say that, you know, someone can't write an all-male cast if they want to. But it wasn't like I had sat down and said, "I'm intentionally going to write an all-male cast." I just defaulted to making the rest of the cast male because that was the archetype that was in my head, that I hadn't examined. And so, when I got done with those books, I looked back, and I'm like, "Wouldn't this have been a better and more interesting story if there had been more women in the cast?" And I absolutely think it would have been. But becoming a writer, becoming an artist, is a long process of learning what you do well, what you do poorly, what you've done well once and want to learn how to replicate, what you've done poorly and want to learn to get better at. It's a very long process, I think, becoming the writer that we want to be.

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Brandon Sanderson

Chapter Fifteen

The actions of this wildman here seem strangely logical to me for some reason. Everything he did simply felt right. Sometimes–well, most of the time–character work that way for me. It makes me worry, actually, that sometimes the characters are too clichéd. After all, if their actions and mannerisms come that easily to me, then maybe I'm not stretching enough.On the other hand, I feel that the characters act naturally because I understand them. If I really understand a character, then won't everything the do feel right because. . .well, that's just what they would do.

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Brandon Sanderson

Chapter Eighty-Two

Sazed Ascendant

The answer is yes, I planned it from the beginning. And I didn't.

It's difficult for me, even as the author, to trace back when and where the various threads of a story began. I wrote all three of these books in a row, and to me, they're one long story. Yes, I chose three distinct segments of time over the five-year span, and separated out those chunks. But it's all part of a whole, which is why it was so important for me to be able to write this series as one singular book.

So, if I go back to my very first notes, will it include a discussion of Sazed becoming God and using the stories in his metalminds as guidelines for remaking the world? No, I don't think it's there. Just like Kelsier wasn't originally planning to create a rebellion through his sacrifice, just like Vin wasn't even originally female.

Things change and grow with a book as you write it. However, let me say that I knew early in the series that I wanted Sazed to end up as the Hero of Ages and ascend with the power. I felt it was the only way to deal with the world ending and have it start anew. Plus, he's the only one who really deserved it, as he was the only one of the characters who ever cared much about religion.

I kept this in mind while revising the first book, as I'd finished the rough draft of book three by that time. I planned how to use his religions and feature them in the novels in a way that would show off their finer qualities.

In a way, this is my compromise. As I've said, I don't believe in the "spokes on the wheel" theory. Not every religion can be true, if only because they—logically—disagree on so many points. But every one of them can teach things that are true. This is something I actually believe. And, like many of my beliefs, it ended up influencing how I wrote this book.

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Questioner (Paraphrased)

Why do you have so many series going on at once instead of finishing one of them?

Brandon Sanderson

A couple of reasons. The main one is that it's the way I stay fresh as a writer, I find that I get burned out on things. Another main one is that I feel if I'm not practicing different styles, I'll get into a rut, and my writing will repeat itself. It's kind of like a philosophical reason and an instinctual one. I tell people who are annoyed that I'm not writing Stormlight that you wouldn't get Stormlight any faster if I weren't writing these other books in between - you might get it more slowly, because it's working on other things that really rejuvenates me as a writer. So I would be writing at a [Patrick] Rothfuss speed if I weren't jumping between things.

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Questioner

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

Brandon Sanderson

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

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

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

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Questioner

If you wanted your sons to grow up to be one of your characters, would you want them to?

Brandon Sanderson

Uhhh. If they grow up to be Dalinar, without going through the phase of being a murderous tyrant, I would probably pick that one.

Questioner

Alright, no murderous tyrants.

Brandon Sanderson

No murderous tyrants. If they could grow up to be Sazed without being, y'know, castrated that might be-- But that's the thing. A lot of my characters have been through some rough stuff.

Questioner

Almost right.

Brandon Sanderson

No, I don't think that torment necessarily makes you a good character person, there are plenty of good people who have never been through things like that, but it makes them interesting to write about.

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Questioner

Does gender play a role in how a spren chooses a Radiant?

Brandon Sanderson

It does but it is not a strict... It's just spren are going to have preferences like people have preferences and that does play into it but there's not really any sort of strict...

If you want to know narratively, behind the scenes, it tends to work to pair opposite genders together, because it just makes for better conversations and things like that. And it makes the cast fill out a little bit better with a little more variety. So that's why you see the writer side of me doing it, but in-world my kind of explanation is they have preferences.

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Las Aventuras de Erif

How did you decide to turn Taravangian into Odium?

Brandon Sanderson

How did I decide to do that? There are a couple reasons I decided to do that. This was one of the things didn't have to go this way. It is actually a good one I can talk about because I had multiple options here. Even until I was turning in this outline to my team and saying "Alright, it's time to sink or swim, do we like this or not?", I was going back and forth on it. Really until I had written the scenes and given them to my alpha readers and said, "alright, are you guys ready for me to pull the trigger on this?" because there are costs. The major cost is that Odium is a better ancient unknowable evil. Odium was filling the role in the books of Sauron. Ancient thing, very dangerous, very strange, very powerful and whatnot.

The thing is, my books aren't really about that. I will write books dealing with some of that sort of stuff, but that's not the sort of thing that is as exciting. It's not really as much a theme of my stories, the ancient unknowable evil. The whole purpose of Mistborn—one of them, it's not the purpose—is that even the Lord Ruler you've got to know. Even Ruin became a character that you understood. It is a cost, I will admit. It wasn't as strong for me as it might have been somewhere else. I do know that some people would prefer that, and I can understand why. Sauron makes a pretty great bad guy. Ancient, powerful, unknowable, evil forces—but I feel like I get that in the Shard itself. One of the things that I plan to play up more as the Cosmere goes forward is that these powers have some sort of primal sense to them. That's always in my mind been the bigger danger than than Rayse is that.

That is, the negatives were not that big of negatives. And what are the positives? In Oathbringer, Dalinar did not fall to Odium. That is a huge blow to Odium, Rayse-Odium. The fact that at the end of book three he was defeated in a major way, and in book four he gets defeated again, this time by Kaladin. We have proven that two of our primary viewpoint protagonists of the Stormlight Archive are able to resist and defeat him. My opinion was that by that point in the Stormlight Archive, Odium would no longer, Odium-Rayse would no longer be a threat. You run into this in lots of long running epic fantasy series. I've talked a lot about how when I was designing Stormlight Archive, the things I had read in other long running fantasy series were a big part of why I designed it the way I did. For instance, in the Wheel of Time it was very difficult—even in the ones I was writing—to maintain a sense of threat for the Forsaken when they had just been defeated right and left every book. They do get their licks in now and then, but it's real hard to keep considering Ba'alzamon from the first one to be a threat when boy, Rand just defeats him and defeats him again and defeats him again and then defeats him again. This is a problem for a lot of media. How threatening is Magneto really when he never wins?

At this point in the series, what I wanted to do was hit you with a left hook from somebody that I considered more frightening, more dangerous, more capable, and who had been growing as an antagonist for a while. And while some of his ploys had not turned out, he is still very threatening. My hope was that this reveal to a portion of the audience—I knew that some would prefer Odium, but to I hoped a larger portion—would be like, "Oh, this just got real."

I've mentioned before that my favorite antagonist is Magneto, I've brought him up before. I like characters who have clashes, antagonists who have clashes of ideology, not just clashes of forces. A reason I'm not excited to write about somebody like Sauron is that, while there are clashes of ideology behind the scenes, on screen for the movies and books it's basically: Sauron wants to rule the world and we don't want him to. That works really well in Lord of the Rings because you have, as I've talked about, part of the brilliance of the Lord of the Rings is both having Sauron, Saruman, and Gollum to represent three different kinds of evil and three different antagonists that work in tandem really well together. It's part of the brilliance of the Lord of the Rings. But I like having a villain like Taravangian. Taravangian, who has a world view that is a certain world view and that is terrifying because of how that world view is. Elevating him to Odium so that you mixed that with the kind of ancient spren of hatred that is still a very big, dominant part of what he's now become—I just thought made for a more compelling and interesting villain for the fact that we have many more books left in the Stormlight Archive and in the Cosmere, and I had done what I wanted to with Rayse-Odium.

There's my answer. It is totally viable to have, viable is the wrong term, totally understandable that some would have preferred me to go a different direction, but my instinct says—and I haven't done any polls or things on this—that the majority of fans are going to like this direction better, and I certainly think the story will turn out better. That's what led me to make that decision, but these were all things I was heavily considering. Adam was there watching those emails go around with me and the team when I was asking if I should pull the trigger on this or not. There are a couple of things that I've made decisions on that have been some of the most difficult or most far-reaching in that regard, but that I think I made the right decision on.

The other one was bringing Kelsier back. Kelsier, so I seeded all the stuff in the original books to bring Kelsier back, but then I backed off on it, and for a while I'm like eh, I don't think I'm going to bring Kelsier back. During that whole thing, oh this is a fun spoiler thing that I don't think I've talked about before: during that time in the outlining—some of you may again have much preferred this—TenSoon was actually going to be Thaidakar, wearing Kelsier's bones. There was a time where I was going to play with a kandra believing they were Kelsier, in this case TenSoon. I was going to go this direction where it's like, I'm the Survivor, I'm picking up the Survivor's heritage and I'm doing all of this sort of stuff—I did warn you all about spoilers—and there was a time in there where I decided no, I'm going to leave Kelsier dead—that I'm going to go this direction. Why did I back off on that one? A couple reasons, number one I feel like I really did a solid job with Lessie in the second of the Wax and Wayne books, which was a similar conflict. I felt like I got that out of my system. I did it well, I think that story has some really heart-wrenching things, but as I wrote that story I felt that it was a one-book story.

One of the things I've come to be aware of as I've written, this stretches back to the days of Elantris where my original ending had too many twists. It's been changed, like I had some weird twist where Hrathen had secretly come to Elantris at some point and had a heritage that made him Aleth—not Alethi—made him Aonic and things like that and it was dumb and it didn't work. It was twisting for twists sake. And part of me worries, and part of me actually doesn't just worry, I think that if I had done that whole thing with TenSoon it would have been less cool than what I just actually wanted to have happen, which was to give a full finished character arc to Kelsier. At that point I went back to what my original plan had been and I picked up those threads, and that's when I wrote Secret History, after I had finally made that decision. And it comes with costs too. Everything comes with costs. Having main character die in such a spectacular way and then not being quite dead yet has certain costs in your narrative. The more you do that less that death is meaningful in the stories, the more it feels like a gotcha and things like that. Yet at the same time on the other side, I don't think the Lord of the Rings is weaker for having brought back Gandalf. I think the Lord of the Rings is stronger, and why is that? Gandalf comes back changed as a different person and makes the story more interesting for having returned. My original plan with Kelsier was just more interesting in the long run. Forcing Kelsier to do these things and fi—he did not complete his character arc, and that's part of why it was so heart-wrenching to lose him, which I understand. Bringing him back in that regard lets me finish his story, and I just think that's going to be more satisfying. I gain more than I lose.

Plus there's the fact that someone comes back from the dead in the first chapter of the very first Cosmere book. Second chances at life is a major theme of the Cosmere. Both Warbreaker and Elantris that's kind of—Warbreaker it's the primary theme: second chance at life. You're doing a different thing with your life than you thought you would do, and let's take a second stab at it. I think that being able to play with that with Kelsier is a stronger narrative thing to do. This was also influenced by my, as I've talked about before, sort of shrinking the timescale a little bit of the Cosmere so that more of the characters from the different books can interact. It just makes better storytelling. I would say that those are the two things that in outline I could have gone different directions when I actually got to the story. When it was time to write Secret History I had to make the call. He had been dead, he had been alive, he had been dead, he had been alive, at least in my head, and I made that call. The same thing actually happened with Taravangian. It had been am I going to pull the trigger, was he going to become Odium or not? I actually vacillated on that and eventually have made the decision I made. 

Adam

Are you ever going to reveal what the alternate was going to be, kind of like what you just did?

Brandon Sanderson

Maybe eventually I will, but for now I will not. It's easier to reveal in Mistborn because it's basically all in the past. It isn't to say that I won't do something else like that, with a kandra. I might, but Lessie's story covered that real well. Who knows what I'll do, but I've backed off on, for those who have read Way of Kings Prime, Taln's original story was the story of am I an angel or am I not? Am I a Herald or am I not? Am I this divine being or am I a normal person? And that actually plays real well in Way of Kings Prime. It is just not a thing I could make work in the actual published version of Way of Kings. It's one of the things that's cool about Way of Kings Prime, is being able to see some of these ideas that I can't express in the actual series. Part of the reason I can't is also, number one I wanted to bring the voidbringers in and all of these things, and you just can't... The more fantastical your book is, the less the reader will be able to suspend disbelief about your character who claims that they're not some mythological legend from lore actually not being that mythological—they walk onstage and are like, "I think that I'm this mythological legend from lore but my powers are gone." Ninety-nine readers out of a hundred are going to be like, "yep, I believe you", even though all the rest of the people in the books are going to be like, "No of course you're not." The reader—because it's just cooler that way. It's very hard to fulfill on good promises by not having that turn out that way. Beyond that, the story I wanted to tell involved Taln and so big surprise, Taln is a Herald!

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Brandon Sanderson

Spook Escapes the Burning Building

This scene with Spook bursting out of the burning building, trailing smoke, is one of two big focal scenes I imagined for his storyline. Interestingly, I had planned on three focal action scenes, and ended up skipping one as I drafted. I planned to have assassins attack the ministry building and Spook fight them off, but could never quite work it into the pacing of the story, and I figured that after this scene—which works so well to convey what I want—another scene was unnecessary.

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Brandon Sanderson

Chapter Seven

Siri Enters the God King's Chambers

This is one of those chapter breaks that is there for stylistic drama more than anything else. Thematically, these two chapters are really the same chapter. However, I wanted to break before she steps in because it works so well as a dramatic turn in the story.

I've had e-mails asking me about how to decide when to break a chapter. Honestly, I'm not sure how to answer this one. Breaking chapters isn't something I plan; it's something I just do. A good chapter should have a nice arc of its own, with rising action, a climax, then perhaps some brief falling action. (And thinking of that, you can probably see why chapters five and six can be considered a single chapter in this regard.) But there's not a real science to it—break where it feels right.

Anyway, Siri's entrance here is probably the first big climactic moment of the book. It's where I've been pushing the novel since the beginning, and is one of the focal scenes for this book. (The scenes that I imagine and develop before I being writing, which then propel their section of the novel.)

Bands of Mourning release party ()
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Questioner

So I was actually wondering, I keep finding myself thinking of new and exciting ways to break science with magic. How do you keep yourself from doing that constantly as you're writing?

Brandon Sanderson

You write the book the best way the book can be. You give it to a scientist. You say "What does this break?" and then you either take it into account, if you think it is going to work for the book. If not you come up with an explanation in-world and you move forward. We're writing fantasy, we don't want the science to ruin our book, we want the science to be something we considered. Does that make sense? Like when I made speed bubbles and Peter's like "Red shift! You're going to irradiate people." I'm like "Alright we're just going to have to say 'Speed bubbles are not irradiating people' ". And just be aware of it and write the best book you can.

General Reddit 2018 ()
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polaristar

Not sure about my favorite scene in OB, but one I'd like to see drawn is Shallan when she's in the midst of her "experiment" to find out what Shamespren look like after occupied Kholinar.

P.S Brandon was that scene inspired by an "fan-service comedic" moments in anime?

Brandon Sanderson

Not specifically, but perhaps unconsciously. I was simply looking for a way to make the conversation more interesting, and to remind readers that Shallan's way of seeing the world is not always...healthy.

Firefight Seattle UBooks signing ()
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Questioner

I was wondering if you could talk a little about expletives and blasphemy?

Brandon Sanderson

*amusedly* Expletives and blasphemy... So, It's really interesting, one of the first things that I think about when I'm coming up with a fantasy world is "How would they-- How do they curse?". And I don't know why this happens to me, but it feels like you can build out and extrapolate a lot about a culture from what they curse by, and how they curse. And it's become a thing. Like in one of my short stories I did I used *stumbles over words* saying "hell take you" to someone was a compliment because they didn't want to go to heaven because there was a god-king they hated. They were like "We don't want to go where he is so hell must be the better place". Which was a lot of fun to me in coming up with that. Or other ones I have them curse by in-world and sometimes I just use the biblical curses, the damns and hells and things like that. Why do I use those? I use those in Mistborn because I was writing about a bunch of thieves living on the streets and when I tried to use kind-of more fantasy-ish curse words it just felt fake for them. And yet it didn't feel fake when I started using "Merciful Domi" in Elantris because the religion of that world was so important to all the people that they would use the name of their own deity.So this is just something I kind of dance around and it's very interesting to me being a religious person myself. I will sometimes never-- like I don't use the curses that my characters will, but I'm not my characters and things like this. So it's something I think about, perhaps way too much, is how are the people going to curse in these books. That's a very good question.

Sofia signing ()
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Questioner

You've mentioned before Adamant as maybe a universe where you can invite people to work with you.

Brandon Sanderson

Yeah I've definitely considered that. Adamant is a science fiction novella I wrote, which I would love to do some continuing adventures of this starship and have some guest writers. It's difficult because, as a writer it's very hard to let go of anything, that's what I found. I did one story with a friend of mine, Ethan, who I did it with him because he's in the military and I've never been in the military, and I wanted to write a story that was kind of military science fiction-ish. And so we wrote a story together, and it's a great story, it's called HARRE, and you read it in English but-- It turned out really well but it was so hard to let go. Really hard to let go and let someone else do it, that's a flaw in me I think because the story turned out great, but I'm worried about doing that more in the future. Just if-- I'm worried whether or not I'll be able to let go of the story and let someone else put their stamp on it.

Questioner

So how about the other way around though. Would you be interested in working in somebody else's, like for example Dragonlance. You did something like this in The Wheel of Time, working with a pretty fine set of constraints--

Brandon Sanderson

Yeah it was a little different in The Wheel of Time because I was given complete creative control. So I could do whatever I wanted as long as I could convince Robert Jordan's widow that it was the right thing for the story. If I convinced her then it worked. But I very much could create whatever-- craft whatever story I wanted. In a lot of shared universes the constraints are much more binding. I wouldn't be opposed to it. I've certainly done-- I worked with some friends who make video games and worked on some stories with them, so I've done it before. I wouldn't be opposed to it. It would have to be the right thing.

Questioner

Or a Magic: The Gathering story?

Brandon Sanderson

Yeah a Magic: The Gathering story, I could totally see myself writing one of those one day.

Brandon Sanderson

Is there a particular Magic: The Gathering, I dunno, what are they called-- universe?

Brandon Sanderson

Yeah, yeah, they've got a Gothic core universe called Innistrad, with a-- It's just I love classic Gothic horror, and it would allow me to play with some of those tropes. You know, the zombies banging on the door and the werewolves howling in the night, and things like that, that I probably would never do in one of my stories.

Starsight Release Party ()
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Questioner

I know you served a mission in Korea. So, how much of a Korean influence...

Brandon Sanderson

There's a bunch.

Questioner

I noticed in Mistborn, I think of some Korean influence. 

Brandon Sanderson

Yeah. In Elantris, the idea of the language is based on the relationship between Korean and Chinese. So, it's not the sounds or anything, it's the idea of there being the Chinese characters that have Korean back... you know you can write them in Korean or in Chinese. All of that stuff. The Chinese characters, the Korean grammar around them, and stuff like that, it was a big influence on me designing that writing system.

The Book Smugglers Rithmatist Interview ()
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The Book Smugglers

In addition to The Rithmatist, you've also ventured in the the Science Fiction realm with your short stories ("Defending Elysium" and "Firstborn"). We recently learned that you're creating a cool, limited edition tête-bêche ("head-to-toe") bind-up format of these two novelettes, in the style of the groovy old school Ace Doubles. What made you want to create this particular type of print version of your novelettes? And, since these are science fiction, tell us a little bit about writing scifi and how that differs (or is similar to) fantasy.

Brandon Sanderson

We were looking at doing con exclusives, something I can take to conventions to make them a little more special for those who make the extra effort to come see me. Yet we didn't think it would be fair to my readers who can't make it to the cons (my readers in Sweden, for instance) if I took a story that was only available at cons. But "Firstborn" and "Defending Elysium" fit perfectly. Both stories have been out awhile, and both are free to read online. If you can't make it to the con, you can still read and enjoy these stories.

Singly, neither story was long enough to justify the price point required for us to go through all the effort to create a book. But both stories are science fiction, and both are novelettes, so doing an Ace Double-style book sounded like the way to go.

A lot of my short fiction comes out as science fiction. When I sit down to write something short, I've often wondered why a science fiction story pops out. Why do my longer works come out as epic fantasy? I've got lots of theories. They're armchair theories from Brandon the English major, not so much from Brandon the writer.

In science fiction, a lot of times the worldbuilding is easier to get across. Science fiction films have been such a part of our culture for so long, and imagining the what-ifs of the future leaves you with more groundwork to build upon, that in many ways there's more the reader immediately understands and accepts.

I've often said that great stories are about great characters first. But beyond that, science fiction stories are about ideas and fantasy stories are about the setting. I think that's why when I come up with a great idea story, I write it as science fiction. If I come up with some interesting setting element, like a great magic system, I write it as fantasy. I've found that getting across an interesting and complex magic system in a very short amount of time is extraordinarily hard, so it tends to work better for longer stories.

The Hero of Ages Annotations ()
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Brandon Sanderson

Chapter Twenty-Seven

Vin Reminisces about Her Early Days with the Crew

There's a lot to talk about here. First off, this is one of several nostalgia chapters I threw into this book. When I worked on the second book, I missed getting to write about some of the themes from the first book. Gone were the balls and a lot of the banter, and Kelsier's death removed one of the series' most dynamic characters.

When I got to this book, I wanted to see if I could blend what worked well in the first book with what worked well in the second book—and then, of course, add some things unique to this book. Among the most charming parts of the first book were the balls and the noble society.

So here we get to have Vin contemplate those days as a slight foreshadowing to gear us up for a few scenes that hark back to those days. As this is the final volume of the trilogy, I think it's very appropriate to recapture some of the tendrils from the first book and weave them in.