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Dan Wells

Can you talk about the person you were pitching with, or is that secret? 

Brandon Sanderson

Yeah, I can. It was Joe Michael Straczynski. So Joe attached to it. Super cool guy.

Dan Wells

He is the guy that did Babylon 5, among other things.

Brandon Sanderson

Yeah, he attached to it and he and I went and pitched it together, and it got picked up. But then Joe really got excited by certain aspects of the story, not really by my outline. He really loved the idea of this—he had an idea, he wanted to do something that was very close to Castle, where there is an author in the real world writing books. We would write these fantasy novels and the show would be the fantasy novels. The author was like a character who was channeling and releasing them. Some of this was from the original pitch, but it was a video game in the pitch.

He was really into this and so much of it changed that I called him up and I was like, "Joe this is nothing like my pitch". And he was like, "yeah I know, I got really really excited". I was like "ughh" and he was like "ughh" and I'm like "what if we just separated them" and he said "that's a great idea". So we just hand shook on, he can take his pitch and sell it, he just took Dark One off it 'cause it was changed so much, and mine just went back into the thing. I don't know if he ever got his made. He was very easy to work with, I'll say that. Very very classy in when I called him and said "this is nothing like my pitch", he was like "yeah I know, I'm sorry, I got really excited".

Dan Wells

Well and that’s what happens, that’s what happens in Hollywood. It is such a collaborative industry and a collaborative medium that, you know, whoever has the money and/or authority is the one that is most likely to see their vision made. Which is rarely the author!

Brandon Sanderson

It got picked up. They commissioned a pilot from him on that thing. Basically, I said "go do your thing, if this takes off come back to me and I can maybe write the fantasy novels in the real world". I'm totally cool with your concept here, we will just take Dark One's name off of it. Obviously it didn't get picked up, because the show never got made—

Dan Wells

Yeah, because we have never seen it.

Brandon Sanderson

—and he never came back. Anyway, that was Dark One, was my television pitch. It was multimedia in that I planned a couple of epic fantasy novels to tie in, but that was kind of like the television show was the thing.

Windrunner

Hey, I'm working on the Shardblade article for the wiki. Did the glitch about the Shardblade count in WoR get worked out?

Peter Ahlstrom

Yeah. Teleb was using a King's Blade.

Windrunner

Was he just using it for the duration of the expedition, or had it been granted to him by Elhokar?

Peter Ahlstrom

Just for the expedition.

Questioner (paraphrased)

The Shardblade that Dalinar had at the end of Words of Radiance, was that the Honorblade?

Brandon Sanderson (paraphrased)

The Shardblade that Dalinar had at the end of Words of Radiance that he gave up?

Questioner (paraphrased)

Yeah, that he gave up.

Brandon Sanderson (paraphrased)

No, it was not.

Questioner (paraphrased)

It was not? So what happened to the Honorblade that the Herald had?

Brandon Sanderson (paraphrased)

Nobody kno - Well, somebody knows, but it is not known to the main characters.

Questioner (paraphrased)

Can I ask if Hoid-

Brandon Sanderson (paraphrased)

If Hoid knows?

Questioner (paraphrased)

Yeah.

Brandon Sanderson (paraphrased)

Hoid did not take it, but I’m not answering whether he knows.

Peter Ahlstrom

It was Meridas [dual-wielding Shardblades in Way of Kings Prime], but this never actually came up in the book itself. It was just Brandon's headcanon. Would have happened in a sequel or something. Though, something about this is implied, if you read the chapters in Altered Perceptions, because of the way Shardblade bonding worked in that draft.

Meridas was kind of part-Amaram, part-Sadeas, part-...I dunno, Vstim? His personality was most like Sadeas, but he was a trumped-up merchant who wanted to marry Jasnah.

damenleeturks

Was anyone else completely surprised in Bands of Mourning when Wax offhandedly mentions that he and Lessie had been married?

I don't remember any mention of Wax and Lessie being married before that point in the series. Together, yes. But married, not at all.

Did I just miss it? Or did /u/mistborn forget to mention it in earlier books? (Or did he slip in some hand wavy retconning and hope no one noticed)?

Brandon Sanderson

This is one of those things that editors kept trying to change back, but which I insisted stay as it's not a contradiction to the earlier book. Wax's thinking of her in this way is a kind of unconscious defense against what his mind perceives as an attempt by society to wipe her out of existence and force him to move on.

damenleeturks

I appreciate that the intention here was for Wax's state of mind to feel a little off.

Still, with the concrete way he thinks of the relationship as a marriage, with how he remembers the specifics of a ceremony, it's hard for me to resolve your statement that "Wax and Lessie never had a real ceremony" with the conflicting statements in the text (emphasis mine)—

At the very beginning of chapter 1, Wax and Wayne are talking, Wax casually mentions that it's his second marriage and Wayne doesn't bat an eye:

“You gonna be all right?” Wayne asked.

“Of course I am,” Wax said. “This is my second marriage. I’m an old hand at the practice by now.”

Then, after Wax gets to the church and is getting dressed, he muses further on his previous wedding:

Then, after a moment’s hesitation, he strapped on his gunbelt and slid Vindication into her holster. He’d worn a gun to his last wedding, so why not this one?

And finally, Wax contemplates the actual ceremony as he and Steris are walking "down the aisle":

Wax found himself smiling. This was what Lessie had wanted. They’d joked time and time again about their simple Pathian ceremony, finalized on horseback to escape a mob. She said that someday, she’d make him do it proper.

With all three of these in short succession, Wax clearly establishes that 1. he was married before to Lessie (at least in his head), and 2. there was some kind of wedding ceremony (was this in his head, too?).

Brandon Sanderson

So, the following is how I explained it to Peter, I believe, back when he raised these objections during the editing stage. Wax and Lessie had no official marriage, though they did exchange some vows (as Wax notes, on horseback, fleeing a mob.)

Lessie gave him grief, claiming that it didn't count--that she wanted more. She wanted an actual wedding, and a piece of paper to say they were married. Wax figured this was good enough, and resisted wanting to do something more formal. It was his whole, "I am the law" thing he had out in the Roughs. Focus on what matters, not what paper-pushers might claim he should do.

Over the years, they talked about getting married for real, and he started to think of the day they would. (Shifting his focus away from thinking of "my wife" but instead of kind of a long-term betrothed/common law wife.) When he lost her, and moved to Elendel, his viewpoint shifted. He wanted more and more to treat what they'd had as a legitimate marriage, for fear that what he and Lessie had would be wiped awaystamped out, by something more grand that society was demanding of him.

So while the event never changed, his perception of it certainly did. I intended for it to be contradictory, but only subtly so, and this is one of those things that I didn't feel like it was right to do in the text. (Much like Wayne's dislike of Steris for stealing Wax away from him and from the memory of Lessie--but this sentiment slowly shifting into a protectiveness of her as she reached the "inside" circle and gained legitimacy by making Wax happy.)

These are things that the characters themselves don't realize, and while I'll occasionally hang a lantern on them, sometimes I just leave it unspoken and subject to interpretation. If every little thing gets spelled out in the text, then I am left feeling that we're being too on the nose.

That said, once in a while, things like this DO annoy Peter. He'd prefer I pin the text down on things that seem to contradict one another.

Seonid

I noticed that you-- Was that a retcon on the way iron Feruchemy works?

Brandon Sanderson

What do you mean?

Seonid

There's a researcher who talks to Wax, asking him about whether he's changing his mass of whether he's changing whether the planet perceives him-- affecting his gravity.

Brandon Sanderson

Right. It's more a re-- Defining something I didn't pin down strongly enough. I wouldn't call it a retcon because it's something that nobody really did until Wax, really, in the series. The only one really capable of doing that in the original trilogy would have been the Lord Ruler, maybe some of the Inquisitors, but we don't have viewpoints from them. So I wouldn't call it a retcon I would just say it’s something that didn't come up in the first series that now I have to make sure is clear.

Seonid

So is it Higgs field stuff going on?

Brandon Sanderson

Yeah. Mmhmm.

Seonid

My idea was right.

Brandon Sanderson

Mmhmm.

Questioner

My favorite god, Sazed/Harmony, in my recent reread I got a bit angry at him because he didn’t let kandra be able to reproduce, but he let the koloss be able to do it. And I’m wondering if there’s a way he could have allowed that, but he chose not to? And also if there’s a way that it could happen in the future, so that two of my favorite people could have a baby?

Brandon Sanderson

There are a couple things that he was facing, and let me walk you through his philosophy on this, which you are allowed to disagree with. I want, for every character I write, there to be things they do that you disagree with, because otherwise I’m writing all characters to be the same person, if that makes sense.

The kandra have immortality and are able to perpetuate their culture by being immortal for as long as the individuals live. The koloss don’t have that, meaning that if he didn’t make koloss able to breed true, the entire people vanish in one generation and all culture associated with them. And so because of that, he took the extra effort to change the koloss to allow for this sort of thing. But he did it in such a way that they would not have to have hemalurgic spikes, because the idea of making new hemalurgic spikes is extremely distasteful to Harmony. Reusing old ones is a thing he was willing to allow, but new ones he didn’t.

Could he have changed the kandra to be similar? Well, the answer is kind of a fairly... yes, but they would no longer have been the kandra, they would have been rolled back to being what they were before the Lord Ruler. And so they basically would stop being what they are that makes them unique as a culture. And he decided not to do that.

You can disagree with that, and I think there are some pretty valid arguments against the choice he made, but that is the choice he made.

Is there a way going forward? Yes, this is theoretically possible.

Axartsme

I was just listening to Darn Carlin's Hardcore History podcast and Dan Carlin was talking about Genghis Khan's habit of seeing the potential in anyone, even an enemy. He was specifically going over the story of Jebe, a soldier who shot Genghis Khan in the neck and was recruited by the Khan because of his skill. This, at least to me, bears a striking resemblance to the final scene in the first flashback of [Oathbringer]. [Brandon] can you confirm or deny my suspicions that this scene was directly inspired by the real life event?

Brandon Sanderson

Yup, that's where it came from! I read a history of Genghis a number of years back, and loved this story, which was included there (though said to be just a legend.) Since I based old-school Dalinar on Subutai, a Mongolian general, I thought that this would be a perfect inclusion.

The origins of the Mongolian-Dalinar link, by the way, can be traced back to a friend of mine, Bat-ultzi, a Mongolian who went about always claiming to be "The Great descendant of the Great Genghis Khan." He'd throw his shoes at people if they offended him. He was such a character that I got very interested in Mongolian practices and history.

More tidbits. Rock and his culture started Mongolian long, long ago. (98-99 era, when I first wrote him.) As Roshar in general (and the Alethi in specific) became more Asian in look and less Semitic (though they are still a mash-up) I decided to push Rock's people in the direction of a human/parsh hybrid strain. This also was part of moving Rock himself from Yolen to Roshar, following after Dalinar and some other characters, who came earlier during the original Dragonsteel / Stormlight split in the early 2000s.

These changes drove the Horneaters away from Mongolian influences, though I can't say specifically where the Polynesian/Russian mashup came from. I liked how it read, and felt the linguistics supported the accent. These changes, of course, had a domino effect that resulted in the Veden people gaining their occasional red hair and fair skin from Horneater relation, which means Shallan is part parshman--though the relation is distant at this point.

Questioner

Aimians and honorspren have a lot in common. They can change their appearance, they are blue, they don't seem to die. Are those Aimians descendants of humans and honorspren?

Brandon Sanderson

No, good question though! The reasons they can change shape are similarly related. Excellent question.

Brandon Sanderson

Kandra Blessings

The Blessings are still a little confusing, I fear. Originally I designed a Blessing as a single bit of metal in each kandra's shoulder. Eventually, however, I realized that I needed to change this for magic system cohesion reasons. I changed it to be two bits of metal, one in each shoulder. So, each kandra has one Blessing, but that Blessing consists of two bits of metal.

Each kandra only gets one Blessing from among the different types. There will be more on this in the book later, of course.

Steeldancer

When a Feruchemist stores their charge in a metal, where is that going? Is that going into molecules, is that going into the Spiritual essence of the metal, is that sort of a Cognitive - what is that?

Brandon Sanderson

It is charging it in...in cosmere terms, more on the Spiritual level, but there are connections to the Physical as well. It's not 100% on the Spiritual.

Steeldancer

It's not changing the molecular structure?

Brandon Sanderson

It is not going to change the molecular structure. If you brought that metal to Earth, somehow, and tested it, you wouldn't be able to tell any difference. Because we just don't have that element.

Steeldancer

You can't test for Investiture on Earth

Brandon Sanderson

Yeah. In the cosmere, you can.

Fernican

At any point, did you contemplate the possibility that Yumi would actually die at the end of the book? Or did you know from the beginning that she would survive?

Brandon Sanderson

I contemplated it. This was a tough one for me, because the more artistic ending and more appropriate to the source material that was an inspiration to me is the ending where she dies. And Yumi’s been a Cognitive Shadow all along.

But why did I make the change? There’s a couple reasons that I decided to go that way. It’s not like I made a change; don’t take it like that. It’s not like I had an outline for one, and I went the other way. The outline always went this way, but there were times when I was building that outline. And there’s a couple reasons.

Number one: this is a gift for my wife. And as a gift for my wife, I want the ending that she will love.

Number two is: we do have this sense in our society that sadness is artistic. And I’ve rejected that notion, that artistry must be sad. You can see it very clearly in what we give awards to. Sad endings can be very artistic; but you know what has a really fantastic happy ending? Lord of the Rings. Granted, there’s some bittersweetness to it, but you know what? Frodo has been through hell. That’s the bittersweet part; he can never really be part of society again. But they all make it. Lord of the Rings wouldn’t be better if the fire just killed Sam and Frodo at the end. You know what? It’s better that they make it. And I’m okay with sometimes being like, “This is the ending that I want.”

And the last reason, one of the best comps for Yumi is obviously Your Name. I mentioned that in the epilogue. I made some very deliberate choices to make Yumi read differently from Your Name. The story I wanted to tell is: what if you had to watch someone else doing your job poorly; and you, kind of as a ghost, had to learn to coach them along. I also wanted these two to be bound together, so that the romance worked as a romance between them. Your Name is really awesome for its ending; it has one of these kind of more uncertain endings. I won’t say it’s happy; I won’t say it’s sad. More uncertain. It’s really appropriate for Your Name, because the two characters didn’t really know each other, ever. They knew each other’s lives and friends and families, but they didn’t actually have a chance to really get to know one another, and the ending to Your Name is a perfect nod to that. It’s a chef’s kiss sort of ending for that specific story, where two people didn’t actually know each other, but knew so much about each other. And I love that aspect of Your Name. I needed a different ending for this, because it is a very different style. It’s two people who actually got to know each other.

Questioner

Let’s say that the fires of industry keep progressing in Middle Earth, and someone builds a spaceship, they get in it and go up. What do you think happens?

Brandon Sanderson

In Middle Earth? I think it is heavily implied by the time that happens that Middle Earth has changed to a place where there is no magic, so I think it works just fine.

Questioner

[Follow-up on if Middle Earth is in the same universe as the cosmere]

Brandon Sanderson

You’re not talking to a Tolkein scholar here.

[...]

Yes, the cosmere takes place in a place where there is another branch of physics that is investiture, and that is the big change.

Questioner

Do you ever run into problems with that, does it break physics?

Brandon Sanderson

Oh, yeah. If you look too deep in a fantasy book we are breaking the laws of thermodynamics and we are breaking causality. Those are the two big ones. And those are very important things to be… very dangerous things to be breaking. And you could probably write a fantasy novel that didn’t break those two things. Maybe? I don’t know. The way I avoid breaking laws of thermodynamics is by saying, we’ve got investiture that things can transfer into as well. We’ve got matter, energy, and investiture, I’ve added something to the tripod and therefore it looks like I’m just bending the laws of thermodynamics.

When you actually get down into the nitty-gritty, it starts to break down. It just has to. Causality is the big one. Once you have people teleporting and things like this, run the train experiment. I mean, you just have to say “It’s magic” at some point in a fantasy book. For most of them. I think you could do it, but in mine, with a  grand scale magic system I want to do, we just have to say, “at that point it’s magic.” And this is how I think a fantasy writer differs from a science fiction writer.

A SF writer takes today and extrapolates forward. I take what is interesting and extrapolate backward. Usually. For instance speed bubbles. “I want to have speed bubbles. This is how they work. Peter, tell me the physics.” And we work it out together. We work out physics and try to hit the big trouble points and build into the magic why certain things happen. But that doesn’t stop us from making speed bubbles where there is time passing differently without using mass or whatnot to create time dilation, and it causes all kinds of weird things to happen.

Questioner

With all the bad things that we’ve seen the Ghostbloods do so far (like imprisoning Lift) is Kelsier no longer a good or mostly-good person?

Brandon Sanderson

Kelsier would say he’s a good person.

I would say: Kelsier’s a complicated individual whose moral compass does not align to my same moral compass. But he never was. He would say that he hasn’t changed; I would say that he has changed slightly over the centuries.

Brandon Sanderson

Chapter Thirty-One

This is another of my favorite chapters. (How many of those am I allowed to have, by the way?)

Anyway, it was about time for someone to say the things that Vin did in this chapter. Kelsier and his group really ARE a bit disconnected from regular skaa. In a way, they're like Elend and his little band of philosophers–they feel bad for those beneath them, and talk about helping, but it's really hard for them to really understand the skaa.

I love Vin's entrance. Perhaps I have a flare for melodrama, but I think it worked very well here to have her burst in, bloodied, carrying her dress. (Which, of course, she went back and fetched so that it wouldn't give her away.)

I did change the last line of this scene. Up until the copy edit, the last line from Kelsier's viewpoint (before we switch to Vin atop the roof) was him thinking "Well, she certainly has changed!"

This seemed like too much of a quip, and it undermined the tension and emotions of the last chapter. Sometimes, a good one-liner is good to release tension. However, in this case, I found that it really did feel out of place. This just wasn't the time for some half-snarky comment from Kelsier.

Questioner

Does the Cognitive Realm change based on the form of Investiture on the Shardworld... *inaudible*

Brandon Sanderson

Yeah. It changes based on perception, is one big part of it. There are other reasons. Yes. I would say yes to your question, but perception is a big part.

Hoiditthroughthegrapevine

*written* Is Felt and agent of Harmony? If not, is he a member of a secret society that we have seen?

Brandon Sanderson

*written* Felt is different in his allegiance depending on the part of his life.

*spoken* Felt's allegiance has changed at various times during-- yeah, we'll just say that. His allegiance has changed over the years. There are times he's been a rogue agent.

Questioner

How would an Awakened with Breath piece of cloth react if it got hit with a Shardblade?

Brandon Sanderson

A Shardblade would probably be able to cut it, but it depends on how much Breath we're talking about.

Questioner

So if it had enough, it might be able to block it

Brandon Sanderson

Yes.

Brainless

If you had a chance to go back for Elantris and the early Mistborn books and stuff like that, would you potentially consider adding more crossover characters, because you did put Hoid in all of those, but would you potentially put other smaller things from other planets, like other worldhoppers, in it?

Brandon Sanderson

So, the cheeky answer to this is, I've read The Monkey's Paw, and I've read enough science fiction stories to know that if someone says "Do you want to change this thing about your past?" that you say "No." Because depending on the writer you are either going to end up in a horror story, or you are going to have to learn some lesson about how important you are, or your family is, and then it will all be a dream, so no, I wouldn't.

But really the answer is no, I wouldn't change. I like the fact that the cosmere has a very light touch on those early books. I like it in part because I feel like people who are just getting into my fiction, I don't want them to feel like they have to follow everything to enjoy one book. And yeah, I'm adding little bits more into Stormlight, but that's inevitable because so much will take place in Shadesmar, which by it's nature is far more cosmere-aware, and so we're going to have to do more things the further Stormlight gets and the further Mistborn gets, because it will become inevitable. And that's fine, I'm embracing that. The further we go in the cosmere, the more you're going to have to be on board for the idea of the crossovers working. But I don't want the initial books that you get into to have to be like that. I was very intentional with my light touch on those early cosmere books and I wouldn't go back and add more. Even Way of Kings, right? Has what has Hoid and Felt in it, and that's just about it.

Chaos

Felt's in Words of Radiance.

Brandon Sanderson

Oh, is he in Words of Radiance? He's not even in Way of Kings.

Several Questioners

*talking over each other*

Brandon Sanderson

Yeah, you saw Galladon, you saw the seventeenth shard. So there's like one scene in the whole book, maybe two, depending, but Hoid isn't even very Hoid-like in that first one. It's the second one where he mentions Adonalsium and stuff—

Several Questioners

*correct the previous statement*

Brandon Sanderson

Is it the first one? It's the first one. It's that party at the thing with Dalinar. So there's two scenes in Way of Kings, and that's very intentional. By the time we get to the second stage Stormlight books, and the fourth stage Mistborn books, you'll just have to be on-board. But by then you're entrenched. If you're reading Stormlight seven, then the Stormlight series is already longer than everything else, so you might as well just've read everything else.

Questioner

Who will be the monarch of Idris during Nightblood?

Brandon Sanderson

...I will RAFO that.  Just not-- not for any real secretive reason. But more because, when I write that book, it's possible, you know, that I will change things and whatnot, so--

It's likely to not change.

Brandon Sanderson

Every Newsletter, I like to sit down and write something for you that will be a little different. Something that gives a window into what I’ve been doing lately, or things I’ve been thinking about.

Today, because of the White Sand release, I’ve been thinking a lot about the differences between Brandon the writer from the late 90’s (when the book was written) and today. I was 19 when I wrote the first draft of White Sand, and 24 when I wrote the second version (the one that was turned into the graphic novel.) Looking through it again, there is a lot about me and my writing that has changed.

The magic system is one. White Sand has a very cool magic system, where people control sand with their mind. The magic is powered by the water inside the person’s body, which is a neat system. You need to drink a lot in order to have power over the sand--but it’s on a tidally locked planet, where the sun never sets on that side of the world. (In fact, the sun recharges the sand’s power.) So everything is connected in a cool way. Sunlight recharges the sand, a person gives water to the sand (it’s actually a microscopic lichen-like substance living on the sand, and giving it its white color, that creates the magic. The Sand Master gives water to the lichen, fueling its magical life cycle, which in turn releases power that allows the Sand Master to control the sand.) But the sunlight also makes you more likely to dehydrate, which in turn stops you from being able to power the magic.

And then, it has the oddball--Sand Masters ALSO have the power to turn sand into water. I did this because it was cool to my then-writer brain. What if people who lived in a giant desert could make water? Wouldn’t that be useful? I use this to great effect in the story, and yet, it doesn’t fit the narrative. The modern me would never have added this power. It doesn’t fit into the entire system in a cohesive way. The rest makes logical sense; this (though I tried to justify it with worldbuilding behind the scenes) just doesn’t.

But in some ways, the old me was more willing to take chances. This is important to realize as well--I can't become so certain I know the way that things SHOULD be done, that I fall into doing the same thing over and over. I don't think the power to turn sand into water, ultimately, works in the novel. (Let me know what you think, if you read it.) But the fact that I was willing to add screwy, out-of-the-box powers to magic systems back then is a reminder that not everything in life is neat, able to be tied up with a bow. As much as I like playing video games, I don't want my books to feel like a video game--and that's a danger when every piece of the book, magic, and setting fits together to the point that it loses any sense of feeling organic.

A good lesson to learn from my old self.

I find a lot of the things I do in my writing now were there in these older books like White Sand, they just weren’t fully formed yet. I can also see my early self striving very hard not to fall into cliches, or to do just what was safe or expected. One of the book's two main protagonists, for example, is a black woman. I was trying hard to make sure my books weren’t only about white dudes. And yet, I was still young in my understanding of how to make a book feel real and vibrant, full of people who see the world in unique and different ways. For example, while I have a strong female protagonist, in the first draft she was basically the only only major female character. I did this a lot in the past--focused so hard on doing one thing well that I forgot to expand it to the greater story. (As a note, we changed one of the characters in the graphic novel version to be female, to help balance this out. It worked very well, and she's now one of my favorite characters in the whole book.)

It's hard to see past your biases in books though--and this is still something I fight against. I think great fiction somehow expresses the way the world truly is, the way the writer sees the world, and the way that people NOT the writer see the world, all at once. In this book, one of the main protagonists is dark skinned,. And yet, if you read the book, you’ll find that some of the villain groups are stereotypical, faceless, dark-skinned savages. While that same culture has some main characters who have real depth and characterization (thankfully) that didn’t stop me from relying on tropes for some of the broad brush strokes of the story.

Writing is a constant struggle of managing clichés and tropes, and figuring out when they serve you, and when they don’t. And the more you write, the more you become aware of things you lean upon--not just tropes like the ones I mentioned above, but things that are individual. I’ve been wondering a lot about these things with my own writing. At what point does, "Inventive magic system, religious politics, and people faced with difficult moral decisions" become a cliche to me any my writing? How can I push in new areas, doing new things, while preserving what people love about my writing?

Well, I'm still thinking about all these things. I'm very fond of White Sand, and when I was going back through it, I often found myself smiling. remember with great fondness the time I had back then to just write. There were no tours, no interviews, and nothing to distract me. I wouldn’t go back for anything, (I like actually having people read my books!) but there was something pure about that time, when I wasn't writing to deadline, I was just writing whatever I felt like at the moment. That's another thing I try to preserve today, the freedom to do odd projects now and then. Without it, I think I'd get very boring, very quickly.

Anyway, I hope you enjoy White Sand! This book needed far less revision to bring into graphic novel form than I thought it would. The dialogue was snappy, even after all these years, and the world was one of my more inventive. 20-years-ago-me wasn’t nearly as bad a writer as I sometimes pretend he was!

Amerikoni

I only yesterday found out you changed the ending for [Words of Radiance]. So here is my question. I've only read the first version where Kaladin kills Szeth. When Szeth gets killed now, it's by the storm. What is it that specifically kills him since he can normally just evade the storm or even be healed by stormlight?

Brandon Sanderson

Good question! So, the idea here is that Szeth has given up, and wants to die. I wanted the storm to kill him, then, as opposed to Kaladin. What kills him is losing control in the storm, and being slammed into the ground.

The bigger change here was actually my desire to leave it at least partially clear that he's not dead, in order to avoid the 'fake out' ending. Having him be dead and reborn was important, but I felt in the first stab I erred on the side of pulling a fast one on the reader.

Questioner

What is the biggest editorial change you have ever made to one of your stories from your arcanists who said, "Oh you can't do this because of *inaudible* or for canon content?"

Brandon Sanderson

I'm not sure if I can come up with the biggest. I can list a couple of them that I did change.

They have a lot of influence over Sunlit Man and my weird little tiny planet, my Little Prince planet, that you're traveling around. Getting me to do that accurately... to the point that, at some points, I'm like, "Yeah, I'm gonna give a magical solution to that." And they're like, "That's fine. Know that physicists will complain." And then they did. But then they got mad... not mad, but they're like, "But there is a magical reason."

I only have a full arcanist team on a couple of books so far. They've been involved in all the Secret Projects. They're working with me on Stormlight Five. This is just me finding the people who ask the questions that make me go, "Huh, I hadn't considered that," and then putting them to work to be doing that on my behalf. Really, most of what they do is not say "no," they say "we would like an explanation; you should make sure that this is included." And once in a while, it makes me pull back on an idea. But they're usually really small things that are gonna cause issues for the future, and things like that. I just met with them on Stormlight Five, for instance, and they gave me a few pointers on things. They'd say, "You probably should explain this. You probably should not use this line, because people are gonna explore that and extrapolate that direction." And I'm like, "you are right."

Most of the cases, they're like, "What is this?" And then I explain it, and they're like, "Great. You have an answer. We can move on." You'd have to ask them, but I'd say that one out of ten times, I don't have an answer. But those one out of ten times are really handy for them to be asking those questions that I don't have answers to. Because I have to go do this for all of you, and I'd better have the answers by then.

yulerule

Okay, so Twinborn have [resonances], but full Mistborn don't, right?

Brandon Sanderson

Yes.

yulerule

So then I assume that a nonmagical person, like someone who doesn't have magic, holding the Bands of Mourning will not have no perks.

Brandon Sanderson

I would say they would not.

yulerule

Will a Twinborn that's holding the Bands of Mourning still have their original perk?

Brandon Sanderson

Yes.

yulerule

Or, if a Ferring is holding the Bands, and they use just one ability, will they develop a perk, tied to the one second ability they are using?

Brandon Sanderson

The longer they use it, the more likely that this is to happen.

yulerule

Using Investiture a lot over a long period changes your Spiritweb. So what happens if a nonmagical uses the Bands for a while?

Brandon Sanderson

Same thing that would happen to someone else, um, it would have a definite effect on them. *laughter* It would change them, as... in similar ways. Not exactly the same, but in similar ways.

Brandon Sanderson

What did Blushweaver achieve? In fact, she Returned in the first place to be involved in this ending as well. One thing to note about the Returned coming back is that they do see the future, but when they Return, they aren't guaranteed to be able to change anything. Before her Return, Blushweaver was a powerful merchant in the city, and very well known. She was assassinated after denouncing a group of dye merchants she'd worked with for their deceptive and criminal practices. Her testimony ended with them in jail, but it got her killed. That's how she earned the title of Blushweaver the Honest (which, if you'll remember, she eventually got changed to Blushweaver the Beautiful).

She Returned because she didn't want T'Telir to fall to the invaders she saw taking it after Bluefingers and the others caused their revolt. That was why she gathered the armies. While she didn't succeed in her quest as well as Lightsong did, she did help out quite a bit. I think she's pleased, on the other side, with how things turned out.

Questioner

May I ask you what your revision process is?

Brandon Sanderson

My revision process is very goal-oriented. I decide what I want to change about the book, I write it all in a big notes file, and I organize them by how important it is and how far-reaching the changes are. And then I start revising with <the file> open beside me, always watching to make tweaks to fit the goals I have established.

Questioner

Oh, okay. And do you find yourself able to remember everything you've written when you go back and--

Brandon Sanderson

No, that's why-- you got your document here and you've got your revision file here and watching [the revisions file] while revising I'm trying to clear things off this list, and then things near the bottom will move up. And I'll sometimes need to do two or three drafts to clear everything off the list, but being goal-based in it helps me a lot.

Brandon Sanderson

Introduction

Welcome to the annotations, being written at long last.

Normally, I do annotations for a book while going over the copyedit. That all started to change in 2009 when my time got very short due to finishing the Wheel of Time novels. I also started handing the duty of "Go over the copyedit and see if they are changing anything I don't like" to Peter.

That left no chance for the TWOK annotations. I told myself I'd need to re-read the book before starting the sequel (Wheel of Time work was going to keep me from getting to it for a few years) so I'd do the annotations then.

Well, here I am, in late summer 2012. The Wheel of Time is done and I feel an urgent need to get the sequel to TWOK written. I'm sitting down to read it in depth as I tweak my outline, so I thought I'd try writing out some annotations for you all. We'll see if I manage to get through the entire thing.

As always, if you're reading the novel for the first time, I will try not to spoil anything coming up in the book. If I do have comments that spoil later surprises, I'll hide them using the spoiler function. If you're reading an annotation for a given chapter, I will assume you've read that chapter and everything leading up to it.

I'm not going to edit these annotations (no time) or do any revisions whatsoever. (Peter might do a proofread, but that's it.) So I'm going to make some mistakes, and the writing is going to be rough at places. Take this for what it is: me sitting down and having a conversation about the book, giving a behind-the-scenes look. Extra facts I throw out in the annotations can be considered canon, but understand that I'm writing quickly and might make mistakes.

Brandon Sanderson

August–November 2012

17th Shard

Please explain the arches and symbols that are seen at the beginning of each chapter and why you decided to do them.

Brandon Sanderson

The arches and symbols are a series of arches and symbols at the beginnings of chapters. There's an explanation for you. They rotate and change for every chapter. What they mean should be intuitively obvious to the casual observer, as Robert Jordan used to say.

I decided to use them because I wanted to have interesting things at the start of each chapter. These were done by Isaac. I originally sat down with Isaac and said, "I want to be able to build symbols at the beginning of my chapters. Something like in The Wheel of Time, which I really like, but I don't want to imitate them, I want to go somewhere different. I want to have different pieces that interlock together that form some stonework symbol that's at the beginning of every chapter." I also told him what I wanted the symbols to mean (among other things) and he actually transmogrified all that into an archway. I had originally been planning it to be some sort of inscribed rock stamp or something like a little relief at the beginning of each chapter, but he persuaded me that an archway with a different kind of symbol in the center [would be better]. So, they became arches through Isaac's working with the art and changing things and deciding what would look good visually.

Questioner

In your words, "Is it okay, in an epic fantasy, to hang a gun on the mantle, then not fire it until book ten of the series written fifteen years later. Will people wait that long? Will it even be meaningful? My general instincts as a writer so far have been to make sure those guns are there, but to obscure them, or at least downplay them." Your novels are followed very closely by groups like TWG, and now 17th Shard and Stormblessed, and you're familiar with the obsessiveness of Wheel of Time fans. There are more and more people out there who spend time between book releases poking at the metaphorical walls of your work, on a hunt for those guns you've obscured. Does this kind of scrutiny change anything for you?

Brandon Sanderson

Yes. I don't generally change the guns that I'm hanging, but I have begun to hang more subtle guns for those who like to dig. I like to have a variety of secrets in my books, with a variety of difficulty levels in figuring them out. If you read one of the books I've written, like The Way of Kings, I would hope that it will meet everyone's needs when it comes to discovering things. For those who really want to dig, there will be some really deep secrets that you can unearth, talk about, and theorize about and eventually be proven right. There will be things that the casual reader will figure out three pages before the answer is revealed, that you will have figured out ten chapters ahead of time. I like that variety because of the old adage—it's hard to fool everybody all the time, but hopefully I can have enough different secrets that they will each fool a few people.

Questioner

I read online, something about one of your original drafts, [I think it was about] Gavilar, and it was where he was blind?

Brandon Sanderson

Yeah that was actually Taravangian, in the oldest version. One of the very first things I wrote was that, though Taravangian had a different name then, and was very different. Szeth has stayed the same through all the revisions. Kaladin has changed wildly, and almost everybody has changed dramatically, except Szeth is the same person. Him and Dalinar are the same.

Questioner

Since a computer monitor, the monitor itself isn't metal, could Ruin read something on that and change that. Could you essentially have a conversation with Ruin by typing something on your monitor and having him change it and respond to that?

Brandon Sanderson

Yeah. I think that could work.

Questioner

I do have one question, A Memory of Light couldn't be better, except for the Padan Fain thing.

Brandon Sanderson

Yeah, the Padan Fain thing is that I have a little bit of regret on that one. That's the one thing-- You see he didn't leave anything about Fain at all. Just completely blank. That was worrisome to me. The only thing he said was "Padan Fain cannot be Gollum" actually, he wrote that in the notes. So I was left with trying to figure out what to do and in the end I feel it just ended up feeling tacked on because there were so many other things I was interested in doing and Padan Fain I had never really enjoyed as a character that much. You are seeing my biases come through on that. Looking back at it I'm like "I really should have done something more with him". That's the big one that I feel I would change, if I could change something.

Questioner

'Cause it's kind of a threat that goes away…

Brandon Sanderson

The other one is I would've liked for the viewpoint chapters from Demandred to be in the book instead of separated out and put in that charity anthology [Unfettered], but I didn't have any say in that one.

Janci Patterson

If there were ever future Skyward novellas, could I name a taynix "Hoid"? They made the very good point that, technically, since we have old Earth, those would be in their literature. So, technically, one could...

Brandon Sanderson

That is reasonable. What I don't like to do is to confuse people on whether the cytoverse is in the cosmere, which it's not. But this would totally... I mean, in the Alcatraz books, someone at some point says that Alcatraz's mom killed Asmodean, which is a Wheel of Time joke, there's a mystery of who killed Asmodean. There's stuff like that. So yes, you may name a slug "Hoid."

Janci Patterson

I've seen the Boomslug sticker. Fun fact: we actually change the color of the Boomslug because it looked better on the sticker. They were black-and-red, and now they're red-and-black. Because Isaac actually sent me, "Here it is black-and-red; here it is red-and-black." And I was like, "It's cool. We can change it in the books." He was right; it looked better.

Questioner

So, did Sazed change that no more Mistborn are born? Because I noticed that--I know he made Spook one-- in Alloy they talk about Mistborn...

Brandon Sanderson

The idea is-- I won't say absolutely no to Sazed's manipulation. But, there weren't any Mistborn other than him that survived. The Allomantic lines were very diluted. So, his direct descendants-- you might be able to even find one potentially now. Someone might be born, or one might have been born that didn't tell people about it. But in the general public and population, it's just, there's not as much Allomancy around... He did also change Snapping, which had an effect on it.

Questioner

When Wax changes his weight, is that weight or mass?

Brandon Sanderson

He is actually changing his mass, in a weird...It's kind of halfway in between, is really what it is. But it follows the laws of conservation of momentum, so it's not just weight. It's timidly a half step inbetween.

Questioner

Can Hoid change how he looks?

Brandon Sanderson

He has various methods of changing how he looks.

Questioner

Why didn't Harmony heal or change *inaudible*? [from notes: Why didn't Harmony change Southerners on Scadrial?]

Brandon Sanderson

That is a RAFO. Good question.

Comatose

So here's my last question. If there ARE people on the other side of the world, did Vin kill them all by placing the sun on their side, or do they have they're own Ruin/Preservation battle going on over there as well? Do they also have allomancy feruchemy and hemalurgy?

Brandon Sanderson

No, they're not dead. Yes, Rashek was aware of them. In fact, he placed them there as a reserve. I knew he wanted a 'control' group of people in case his changes to genetics ended with the race being in serious trouble. All I'll say is that he found a way other than changing them genetically to help them survive in the world he created. And since they were created by Ruin and Preservation, they have the seeds of the Three Metallic Arts in them—though without anyone among them having burned Lerasium, Allomancers would have been very rare in their population and full Mistborn unheard of.

Questioner

It seems to me like the Shards each have a color associated with them. Honor I think is blue, Odium is gold... My first question would be, what colors would be associated with Preservation and Ruin?

Brandon Sanderson

So, I have always associated white and black with Preservation and Ruin.

Questioner

Would that have changed for Harmony?

Brandon Sanderson

It will have changed for Harmony. But I won't say what it is.

Brandon Sanderson

Fatren's Viewpoint

I knew early on that I'd need to start with a viewpoint from someone we haven't seen before. I thought that someone fresh would allow us to get a distinct sense of what has happened to the world in the months since the end of book two. The viewpoints of the main characters would be clouded by events—I wanted someone who could show us what was really happening.

That meant using a skaa peasant in one of the outlying cities. I wanted to show a different slice of life and indicate how hard things were. In addition, I felt I wanted to hit right away on the fact that this book would be about the world ending.

Hence we have Fatren. I toyed with making him a main character, but I eventually discarded that idea. I think this is the only chapter from his viewpoint. I hate to use a throwaway viewpoint so early in the book, but the alternative—making him a main character just to avoid having a throwaway viewpoint—was a bad idea. We already have too much to focus on with Elend, Vin, Spook, TenSoon, Sazed, and Marsh all being major viewpoint characters in the novel.

Adding TenSoon, Marsh, and Spook gave us enough that was new in the way of viewpoints. We didn't need Fatren—except for this first scene. Here, we get to see Elend from an outside perspective, and I think this does an excellent job of providing contrast—both against the hopelessness of the world and against the Elend that readers have in their head.

He's changed, obviously. The beard and rugged looks are meant to indicate a year spent fighting koloss and leading humankind as it struggles against extinction. Using Fatren's viewpoint gave me a powerful way to update the world and explain what's changed. I'm pleased with how he turned out.

Brandon Sanderson

So, what's going on here is that when I was writing Elantris... number one, Elantris is my only book that I wrote not knowing if it would get published. For those who don't know, Elantris is my sixth novel and I wrote thirteen before I sold it. And so, I was finishing my thirteenth unpublished novel when Elantris finally sold and so Mistborn is number fourteen. I didn't publish any of those other ones.

So, Elantris was the only book that I wrote without a professional team behind me. And even those early Mistborn books, I did have assistants and things... For instance, I now have a team of fifteen people that work for me, of which nine are full-time. The Brandon Sanderson business is... we take this very seriously and I have two full-time editors who work on my staff in addition to my editors at the publishers.

When I wrote Elantris, I didn't have that whole team backing me, it was just me. So, when we did the tenth anniversary edition, I said, "Let's look and see if people can actually walk in the time I say to the places I say. Let's make sure you can actually see the things they say you should be able to see". And lo and behold, they're like "You say he looks out of his window and sees Elantris, but you put his house over here and there's stuff in the way" and things like this. This is the sort of stuff that, as a writer, it's just really hard to do without a team specifically looking to ask "Can a person walk to... this distance?" and things like that.

Now that I have those resources, I was able to just update it. All the changes to Elantris, none of them change the story, but all of them were meant for these reasons: People can't actually walk this distance or it takes them too long. Like, it would take fifteen minutes, you say it takes an hour... what happened? It's just easier to say "No, it took fifteen minutes", right, and stuff like that. So, those are what the updates were mostly.

With me adding the scene - I don't know if you guys put in the bonus scene - *affirmative from the interviewer* the bonus Hoid scene in the back, which... the story of Hoid, if you don't know, is... he's the character that connects all the Cosmere. When I first started writing, Elantris was the first book ever I put him in and then he appeared in Dragonsteel, which is an unpublished novel, and in White Sand and in Aether of Night, but just little, tiny cameos.

My feeling was - early on - that people wouldn't put up with this <false> behind the scenes continuity. I thought it would scare people off of the series and things like that. I don't want someone to pick up Elantris and be like "Oh, to understand Elantris, I have to read all of that". I just wanted them to be able to enjoy Elantris, but I found out very quickly: fans, number one, loved it. They weren't intimidated by it. Plus, the MCU [Marvel Cinematic Universe] has done way more of that, right? *laughter from audience* When I started, the MCU wasn't out yet. People were not used to, you know, dealing with continuity between different series and things like that on the level they're willing to now. But I found that, even with the early books, there were at least people like "No, you can trust us more, you can give us more of this. It won't turn us off to the books if we know that Hoid is around" and so, I've started... like, you know, I wrote into Elantris a little bit more Hoid for a bonus scene at the end, stuff like that.

Questioner

My fiance and I have been reading through the books, I introduced them to her, she's been reading them in Mandarin. And, so, our question is about what level of enforcement/authority you guys have at Dragonsteel for things like translations, because the atium in the Taiwanese/Mandarin version of the book is translated as "sky gold." Which loses the connection to Ati.

Brandon Sanderson

Yeah, it does a little bit.

Questioner

How does-- has that changed, since you started?

Brandon Sanderson

It has changed since we started, definitely. We try to involve-- Those were translated by Lucy, right? We try to stay really in contact with our translators and offer them as much as possible. Who translated that one? ...Oh, no, that's not Lucy, that's-- he contacts us, too, he writes to us. And, we do our best. But sometime we just don't make people aware of things early enough for them to be relevant. Like, they start, they get a book out, and then they're like "Oh, no, this need to be related." We try, and our translators try, and usually are really good at contacting us, but things slip through. I've worked with both of the Chinese translators quite a bit, actually; Peter does most of that. But if there are things that we get wrong, we love to hear about it, we pass along to translators-- the Chinese translator is a big fan of the cosmere. And sought out the project actively to work on it. So... if there are translation issues, just write to us.

uchoo786

I know that Nightblood is technically a shardblade (invested sword), but can one use it without being bonded to a Spren since on Roshar the only way to breathe is stormlight and use it is by being bonded to a spren? Would Nightblood also work like a shardblade, in that it severs the soul instead of consuming it when it touches a person?

Brandon Sanderson

Remember that the Honorblades do not require one to be bonded to a spren to use, or gain access to powers. Nightblood goes one step further, vaporizing and destroying on all three realms.

uchoo786

So, if I understand this correctly, Nightblood will act like an Honorblade and allow Szeth to breath in Stormlight? Will his surges be completely different than anything Roshar has seen before, or will his surges be those of the Skybreakers since Nightblood's purpose is pretty similar to theirs?

Brandon Sanderson

You'll have to wait and see.

Jennifer Liang

How much of your-- the way you work-- interact with your fans and your process with us is a reaction to being a Wheel of Time fan, and the things that you wanted to happen from--

Brandon Sanderson

Right. I think a lot of it is, but it's a mix of being a Wheel of Time fan and just a fantasy fan in general. Wanting to know more about business, being an author, and just wanting this transparency and-- I don't think that the authors before can really be blamed, they didn't have the Internet, right? I mean, you couldn't really have a thing like I have now on my website-- Or that most authors have on websites. I mean, some authors tried newsletters, but those were huge productions, requiring, you know, actual paper, you know, that stuff they used to use, then sent through the actual mail, not email. The email's named after it, kids. *laughter* These were huge productions, and so they were-- It's not like I sat one day and said "oh, those authors!", but then you see my generation, when we broke in and were--the Internet was becoming the thing that it is--we're like "Ah, let's use this!" I remember when Kevin J. Anderson said to me "but so here's Twitter", and I'm like like, "Twitter. Why would-- They're so short", he said "No, but it's like you can create your own newsfeed from all the people you're following, and it's like a little kind of news ticker about what's going on in everyone's lives." I'm like "Oh, that's a really useful thing as an author", so I hopped on Twitter very early, I hopped on Reddit very early, I hopped on-- Ehhh, some of the other defunct places, but yeah, the idea was that--

I'm gonna go off a tangent, you'll get a lot of this. I have this view, as-- of a writer---and again, don't go say to other writers, you should feel this way--the way I feel is that I'm an artist and you are my patron. In the old days, you used to-- to be an artist, you used to have a wealthy patron, right? That's how you made art, that some rich person came and said "Here's a bunch of money to live on, now go make this art and then, you know, mention that I'm your patron". And a lot of the great art we have, in fact almost all of it came from somebody paying so the artist can actually have food and a life while they're creating this art. In the modern society that's changed to kind of the crowdsourcing, "You are my patron". The crowd in general says "Okay, we're all going to be insurance actuators so that you don't have to be one". Thank you. "You write these stories and then we'll support you". And so my philosophy is: in a lot of way, you are my boss, in more of a patronage sort of thing, you're my patron, and so I should be accountable with what I'm doing. It doesn't mean that I'm going to necessarily change what I'm doing, and it doesn't mean that I'm always going to be writing on the thing you want me to, but I will be clear about what I'm doing and when, just for that transparency, 'cause we can do it now, when we're not-- we couldn't before.

Jennifer Liang

Yeah the patronage thing is really interesting, the way that it works. I know you're past this now, you don't need to do this, but would you ever consider something like Patreon?

Brandon Sanderson

Oh Patreon. So--

Jennifer Liang

Is that something you would have done ten years ago if...

Brandon Sanderson

Yeah, I might have-- Patreon is kind of a hard thing, because I think Patreon is much better for people who are doing something that may be not as market-friendly, but which a group thinks is very important and should be rewarded. There are certain authors I know whose work is very important to the field, like Nora Jemisin. Nora's work is really important, and it's really good, but-- And it's sold pretty well, but I think that the idea of trying to have to be market-friendly is really terrifying to Nora-- Maybe not terrifying, I don't think anything terrifies Nora. But you know, it's that she doesn't want to be beholden to that, and so her setting up a Patreon said, "Look, I'm just gonna write this stuff, I don't even then have to worry about the market", is a really good use of Patreon. We set one up for Writing Excuses, and then we use the money to pay our guests, and to fly people in and stuff like that. I don't need one because what I write naturally does very well in the market and so there's no need or worry for me to do that. If all writing shifted that direction I'd be fine with it, but for right now what's working here with me is working just fine.

Jennifer Liang

Yeah, the traditional model for publishing really serves your style...

Brandon Sanderson

Yeah. The traditional model works very well when you're someone like me. My plots and my stories and things just connect very well with a large segment of the population.

That's also why I don't do a lot on Kickstarter. Like I think Kickstarters-- Like we did-- We let the people making the Mistborn board game-- Which, by the way, Mistborn board game, yay, you guys kickstarted that very well.  I let them Kickstart that. They're like a small company, that makes the board game. And I said, "You can make the board game, but you have to get a really good designer, because I can't micromanage your making a board game", and so they did, and that's somebody very expensive, and then they Kickstarted, you guys supported that. I think that's a good use for Kickstarter for someone like me, but Kickstarter ain't just something of my own, I'd rather that bandwidth at Kickstarter be used for people who maybe need it a bit more, so I've stayed away from doing this thing for now.

Cheyenne Sedai

All three secret projects we've seen so far have been different in terms of voice than your usual books. For Brandon; how did this change in voice change your stories and the world you depict in these secret projects? Is there anything you implemented that you would like to bring into other books you write?

Brandon Sanderson

Yeah, that's an excellent question. That's part why I do voice like this. To experiment with different things. Project 2, Frugal Wizard, has a kind of funny ephemera book like Hitchhikers Guide to the Galaxy. I like playing with ephemera, which is a fancy word for in world books and such that's included as part of the book, and I think that my experiments with ephemera are useful there. My experiments there with that one, playing with historical settings, is also very useful for me.

On the other two it is figuring out Hoid's voice. That is the thing that will probably be most useful in the future as I work out how I want him to tell Dragonsteel, which is his backstory. Neither of these is the right voice. Yumi is closer but at the same time I wanted to have something like this. I always wanted to write something with this fairy tale feel to it, and fairy tale is the wrong term. It's like modern fairy tale, like the Princess Bride is the er-example of this but even Harry Potter one. These sort of quips in narrative that give it a feel of a narrator telling you a story, the Hobbit has this as well. I liked that. I liked the feel of that. It's a sort of different kind of story telling, it has a sort of classic feel to it and I liked doing that.

Emily Sanderson

And with both of these I feel like there were times where you were like 'Is this too much Hoid? Too little Hoid? Does this work?' And I could really tell why you were doing it and if it was too distracting to the story or not.

Brandon Sanderson

Now here is the really interesting thing. The beta readers can not agree on this. There is no consensus on if their is too much Hoid or not enough, if it is distracting or the best thing about the book. Some of you I will warn will find the voice too distracting. I'm doing what I can, particularly in Yumi where I am pulling back a little bit where I'm putting Hoid interjections in parentheses and stuff like that. It doesn't work in Tress. Tress is so much in his voice, that whenever I add parentheses it's like; 'Why did I parenthesize this one when everything is so strongly in his voice?'

Emily Sanderson

It was interesting reading them because you didn't tell me that was what was going on. I had to figure it out. It was interesting to see when I figured it out; 'Wait a second this is in the Cosmere, wait a minute Hoid is telling this story' was kinda fun. It's been interesting to see people's reaction to that.

Brandon Sanderson

The readers reading the early chapters and be like 'Hey wait a minute!' That is a lot of fun. Very satisfying to me. That they can pick out Hoid's voice that easily. Means I'm doing my job right.

Questioner

Spren are reflections of how people in the Physical Realm see things. So if you have a Cognitive Shadow, would their personality change based on what people in the Physical Realm see them as?

Brandon Sanderson

The short answer is, not as much as you're worried about, no more than we tend to change based on what people say to us and how we interact with the people around us.

The long answer is, over a long period of time, it can happen. And it's gonna depend on a number of factors. But we're talking a matter of centuries not years. The same sort of thing you see happening to Vessels of Shards can happen to Cognitive Shadows.

So, the long answer is yes, but it's not an immediate worry. It's not like people start thinking of you and it shifts you because your perception of yourself is enough strong usually that it rebuffs these sorts of things, being self-aware does that. And a lot of the influence to spren and things like that happen during kind of formative not-quite-self-aware times, if that makes sense.

If you were to become a Cognitive Shadow right now, it wouldn't be a major concern, but in a thousand years, you may look back and say "wow, I was shaped by public perception in ways that I wasn't expecting".

No_Doughnut8618

Do you have a plan for Whimsy's planet already, like with a developed magic system and maybe a story to go along with it? Or is it kind of a wild card?

Brandon Sanderson

I have plans, but that doesn't prevent wild cards. Let's just say I have plans, that doesn't prevent me from changing it as things develop. The only two planets that I'm unlikely to change are Yolen and the Aether planet at this point. Those most likely need to remain canonized for reasons that they are being worked into the narratives. Everything else can be flexible.

And you assume that there's one planet for Whimsy, and that it is a planet, don't make assumptions.

No_Doughnut8618

If you've got a plan can we get any little detail about any of it?

Brandon Sanderson

Yeah; making assumptions.

Avery Hinks

Is there a canonical reason why Vasher and Vivenna changed their names to Zahel and Azure on Roshar?

Brandon Sanderson

Yes, it kind of comes into the fact that Vasher has gone through a bunch of name changes and there are a couple of answers to this. One is, in the Cosmere, like in a lot of like fantasy worlds, names and identity are just a pretty big deal, part of how the magic works is how you view yourself, and I like, in that instance, indicating that time has passed and the character has adopted a new name and things like this, it's just that's a thing.

You've also probably noticed that behind the scenes in the Cosmere there are lots of different groups vying for control and power and things like this, and so going under a pseudonym's actually a pretty good idea. I guess an alias, they're not writing books, it's not pseudonyms, you know what I mean, going under an alias's generally a pretty good idea for just if you don't want attention from the wrong people.

That said, I do have to balance this because, for instance, in Azure's case, you know, I picked something that Vivenna had, you know, blue had been associated with her in the previous book, so it's not a completely, that's partially for the reader's benefit, so it's easier for you to track who is who, just a little bit, and just a little bit easier to figure out who is who.

But if run into someone like Felt, right? Felt doesn't care. He's not hiding from anybody. Felt is, you know, he's more like "I moved from Nebraska to Texas," right? "And now I'm living in Texas." That's more how he views it a little bit. He's not a secret agent (ooh, big spoilers). Felt just, you know, he moved, so he goes by the same name. And that's, you'll see some of that as well. If someone's going by an alias, I'm doing it to indicate one of those two things, usually.

DrogaKrolow

Last question: Are you planning to come back to Poland somewhere soon?

Brandon Sanderson

Yes but I don't know when, but I have to come to Warsaw Book Fair, my publisher has made it very clear I need to eventually, and you guys do keep bugging me so-- I'm sure it won't stop now that I've actually come. I have been to Spain like four times so--

Bystander

It's closer to States.

Brandon Sanderson

Yeah it's so much closer.

DrogaKrolow

We'll definitely come back with some weird questions

Brandon Sanderson

Ok great. We need a direct flight to Warsaw, that's what we need.

Bystander

From Salt Lake.

Brandon Sanderson

From Salt Lake. Yeah, not gonna happen. There is a direct flight to Paris so I'm in Paris and there’s a direct flight to London, so I end up both in London and Paris all the time.

Bystander

There is loads of flights from London to Warsaw.

Brandon Sanderson

Yeah.

Bystander

To any city in Poland.

Brandon Sanderson

Yeah but if there is no direct flight then I have to change planes.

Bystander

Jesus.

Brandon Sanderson

It's hard.

Bystander

At Heathrow--

Brandon Sanderson

Yeah, I know! Actually I changed this time in Amsterdam, that's a good airport, so easy to get around.

DrogaKrolow

How many hours did you spend traveling here?

Brandon Sanderson

Nine hours.

DrogaKrolow

Nine hours?

Brandon Sanderson

Yeah-- Oh nine hours-- Sorry, nine hours on that flight to Amsterdam, and then two hours to Warsaw.

Bystander

Not bad.

Brandon Sanderson

Yeah, not that bad. Two hour layover, so total of 13 hours.

I wrote a really bad short story that I don't think I will ever release. It's kind of dumb. So that still happens to me.

Questioner

Does Syl hate Dalinar's Shardblade specifically, or is it Shardblades in general? Or only specific ones?

Brandon Sanderson

Uhh... yeah, okay. There's no way for me to answer that in full without RAFOing, so I'll just RAFO. There are lots of answers in [Words of Radiance].