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The Book Smugglers

In all of your other books, you write strong, layered female characters—what can we expect from The Rithmatist in the protagonist/heroine department?

Brandon Sanderson

I often worry about falling into the trap of making female characters strong by not making them feminine. In Mistborn, Vin is strong in part because of how good of a warrior she is, and that's fine. There are plenty of women like that, who can hold their own in a fight. But in The Rithmatist, one of the things I wanted to do was write a female character who is more girly, so to speak. I wanted to make her a strong protagonist in a way that does not undermine her femininity. I hope that I've managed to approach that with Melody in The Rithmatist.

Brandon Sanderson

Chapter Six

I've spoken before on my creative process. I build books out of good ideas, often developed in isolation until I find the right place for them. (Allomancy and Feruchemy were originally developed separately, for separate books.) When a book doesn't work, the ideas get broken apart and bounce around in my head some more until I find another place to try them out.

Bridge Four—and the plateau runs—were originally part of Dragonsteel. Dalinar was too, so that's not all that surprising, I guess. However, Bridge Four is unique here in that when I decided to move them from Dragonsteel to The Way of Kings, I had already completed both books and felt pretty good about them. They are both important sequences in the Adonalsium Saga, and lifting Bridge Four from Dragonsteel meant taking away its most dynamic, powerful plot structure.

That decision was not easy to make. The problem is, both books were fundamentally flawed. Oh, they were both good, they just weren't great—and I felt I needed to be doing great in this point of my career. (Hopefully during every point of it.) The Way of Kings had an awesome setting and some great characters, but no focal plot sequence that really punched someone in the gut. Dragonsteel had wonderful ideas, but they never really came together.

In the end, I took the best part of the book that otherwise didn't work and put it into the book that needed a little extra oomph. The moment of decision came when Ben McSweeney, who was doing concept art on the book, sent me a concept he'd done that looked shockingly like the Shattered Plains. (Which, remember, were not even on that planet at that point.) I realized that they would fit the worldbuilding of The Way of Kings better than they ever did Dragonsteel, and that I could put greatshell monsters in them.

So, I ripped apart a book I love to make a (hopefully) better book. Rock came along to Roshar for the ride (he was an original member of Bridge Four in Dragonsteel). I added Teft, who had been left languishing for a decade or so after Mythwalker became Warbreaker and he didn't make the jump. Bridge Four seemed like a great home for him.

[Assistant Peter's note: Teft is mostly the same character as Hine from Mythwalker, but also has a character aspect from Voko in that book.]

John Ottinger

You have stated elsewhere that your story is about a world recovering, a world that has fallen from the height of its power. Why did you choose to set your story in such a setting, what about it makes it an appealing place to write about?

Brandon Sanderson

Several things. There's a real challenge in this book because I did not want to go the path of The Wheel of Time in which there had been an Age of Legends that had fallen and that the characters were recapturing. Partially because Robert Jordan did it so well, and partially because a lot of fantasy seems to approach that concept. But I did want the idea of a past golden age, and balancing those two concepts was somewhat difficult. I eventually decided I wanted a golden age like existed in our world, such as the golden of Greece and Rome, where we look back at some of the cultural developments etc. and say, "Wow, those were really cool." And yet technologically, if you look at the world back then, it was much less advanced than it is now, though it was a time of very interesting scientific and philosophical growth in some areas. What we have in Roshar is that the Knights Radiant did exist, and were in a way a high point of honor among mankind, but then for various reasons they fell. The mystery of why they did and what happened is part of what makes the book work.

Why is this world appealing to write in? Well, I like writing my worlds like I write my characters, where at the beginning of the book you're not starting at the beginning or the end of the characters' lives; you're starting in the middle. Because when we meet people, their lives don't just start that day. Interesting things have happened before, and interesting things are to come. I want the world to be the same way. Interesting things have happened in the past, and interesting things are to come again. I want there to be a depth and a realism to the history. It's fascinating for me to write at this point because on the one hand, there are things to recapture in the past, but at the same time there are things that the people in the past never understood and could never do. The former heights of scientific reasoning didn't go at all as far as they could have gone. So there are new places to explore and there are things to recapture. In a lot of ways, this plays into my philosophy for storytelling. The greatest stories that I've loved are those that walk the balance between what we call the familiar and the strange. When a reader sits down and there are things that resonate with stories they've read before that they've loved, there's an experience of joy to that. At the same time, you want there to be things that are new to the story, that you're experiencing for the first time. In this world, that's what I'm looking for. There is that resonance from the past, but there's also a long way to go, a lot of interesting things to discover.

Questioner

You obviously treat your writing career pretty much like a business. On your blog, you talked about staff, and stuff like that. So I'm wondering if you have advice for emerging writers to build their careers with an eye towards business? Business stuff?

Brandon Sanderson

A couple thoughts here. One is, nobody warns you that becoming a novelist is starting a small business, and it hits almost all of us like a ton of bricks when we realize, "Wait a minute. I have to do-- I have to get insurance. I am an independent contractor; I'm not working for the publisher, so I have to pay taxes in installments during the year." (What do you call those... estimated taxes. You have to do estimates, and things like this.) And you have to do all of this weird stuff that can be really hard. That no one-- The writing problems don't generally talk about this. And they don't talk about getting an LLC, or things like this. I had to stumble through all this. And so, I would say to you, do know that becoming a writer, you are starting a small business. So any kind of classes you can take, or things you can read online on starting a small business, are gonna be a huge help to you in that.

The other thing is, I often-- and this, I figured out pretty early on. I figured out that trying to write toward the market was an exercise in futility. I had a speech about that a couple years ago. Trying to always look at writing from a business perspective is going to drive you insane, for multiple reasons, like I just talked about, I just failed at writing a book last year, and I still don't know why. That's not something that really flies in the world of "everything adds up," because it doesn't. That should have added up to a book that works, and it didn't. Because writing is an art. There's an artistic side to it, there's a thing we can't explain. I can't explain very well how I get characters. Like, I outline my plots and my world; my characters come more organically, and it's really hard for me to talk about character for that reason, because putting it into words is difficult.

But one thing you can learn to do is that you can, when you're writing, try to throw all of that aside. Try to focus only on, "What are you passionate about? What does this story need?" And try not to think about the business side. When you finish that story, lock the artist in the closet, take the manuscript, run away cackling, and try to find a way to exploit it in any way you possibly can. *laughter* That is my suggestion on balancing the businessperson and the artist. Let the artist write whatever they're passionate about. And then the businessperson's job should be separate, but same person different hat, and learn how to turn that into food on your table. Try to learn how to make that balance work. And I think that will take you pretty far.

Alex Stephens

I loved the character reversal that took place with [Vivenna] and Siri [Moderator: and actually I'm enjoying that at the moment]. Did you come up with that idea--was that an early idea in your planning or did it emerge as a result of the story writing itself?"

Brandon Sanderson

That's a good question, for most of those they were early ideas. I had two main themes for myself when writing Warbreaker, one was character reversals. I wanted to play with the idea of reversed roles, you see it from the very beginning when the two sisters are forced to reverse roles and also the role reversal between Vasher and Denth.

The other big thing was I wanted to work on my humor and try and approach new ways of being, of having humor in a book and seeing what different types of character humor I could use. It was really actually me delving into a lot of Shakespeare at the time and seeing the way he pulled reversals and the way he used multiple levels of humor and I wanted to play with that concept in fantasy novels, so a lot of those were planned. Some of them were not, some of them came spontaneously, as you're writing the book, you always come up with great ideas for books while you're working on them so you kind of see the evolution of a few of them.

Warbreaker is posted for free on my website, the complete draft of it and I actually posted the first draft all the way through to the last draft and so you can actually take and compare the published draft to the very first draft and even the chapters as I wrote them, you can see how some things were evolving and coming to be and I was realizing certain things while I was doing it and other things just were very well foreshadowed from the beginning.

thegatorgirl00

There's a character in Bands of Mourning named Cob and there's also a character named Cob in the Oathbringer Epilogue. Are those two characters the same person?

Brandon Sanderson

Nope. Good question.

Enasor

How about the Iriali and Alethi mix we have going on with Adolin and Renarin? Where would this put them within the chibi figures? I have always had a hard time trying to figure out how they would look like due to their mix ethnicity. I have ideas... of course, but I'd be great to have confirmation.

Brandon Sanderson

They're gong to have lighter skin, but skin tone isn't something Alethi pay much attention to. Hair and eye color is what draws their attention. Dalinar and Kaladin will be darker than Adolin and Renarin, though none of them would look Caucasian to us. Of course, Caucasians have varied skin tone as well, so it's hard to say specifically what they'd look like. (As a note, Renarin/Adolin are a Riran/Alethi mix--not exactly Iriali/Alethi, as there's some slightly different genetics going on there.)

Enasor

Oh I thought Riran and Iriali were the same... Where did I go wrong?

Brandon Sanderson

I can't say much without giving spoilers, but there are small differences.

CodeMonkey76

Would be cool if you ever got the chance to sit down with a sketch artist to put out images of your visualization of how some of these characters look.

Brandon Sanderson

It would be fun, though I've done this (in a small way) with Ben McSweeny, who does a lot of art for my books. I have semi-official character sketches I use for my own descriptive purposes, but I don't consider them close enough in some ways to be canon, so we don't release them or put them in the books. That said, some of them might be floating around on the internet--I'm not sure.

One thing I wish I'd done was nudge Michael Whalen to push his Kaladin on the cover of Words of Radiance a little further to be a little more ethnically Alethi--as I think it would help people's visualizations of him. But the one we ended up with is already the third version of Kaladin he did for that painting, and each one was increasingly better--I felt bad pushing him further.

As a side note, I've always loved this fanart for Rock. I don't know if there's a more on-target picture of one of my characters out there:

http://vignette2.wikia.nocookie.net/stormlightarchive/images/d/d9/Stormlight_Archieves_-_Rock.png/revision/latest?cb=20140518054457

Brandon Sanderson

For those who don't know it is Dalinar's book. Each story, each novel in The Stormlight Archive delves into one of the main characters' backstories and catches you up how they got to their first chapters in the first book. So the first book was Kaladin, second book's Shallan, third book's Dalinar. Right now, fourth book is Eshonai, fifth book is Szeth. I could end up switching those two. But that's kind of how that works. And then, for those who don't know, The Stormlight Archive-- at the end of book five there will come to a conclusion, though it's not the main conclusion, it's the end of the arc. We will leave Roshar for a while while I write a few more books, and when we come back Roshar in-world will have passed about fifteen years. And then we will do the back five characters as I call them-- their backstories. So that's Lift, Jasnah, Taln, Renarin, and Ash-- yeah, Ash. There's two Heralds among that group, so you can kind of guess what those flashbacks will deal with, in the back five. The main characters of the first five, who survive, will still be a big part of those back five. So it's not a separate series, but I do consider it two separate arcs. We need to pass some time for some various reasons.

Questioner

So, I was gonna ask about which character the next book would focus on?

Brandon Sanderson

Oh, no, that's not spoilery... I said from the get-go I am perfectly all right writing a flashback sequence for a character who has already died in the books. So it's not telling you any spoilers to tell you who the various characters are. So, the front five are Kaladin, Shallan, Dalinar, Eshonai, and Szeth. Those are our front five. And our back five are Lift, Jasnah, Ash, Taln, and Renarin. And, not in that order. I've flipped the order quite a bit as I've been going. 'Cause Dalinar was gonna be book five, and now he's book three. So now Szeth is book five, and Eshonai is book four. Right now, Lift is book six. But the back five, I'm not concerned about, other than making sure I'm setting up the right things, and it's gonna come together.

Questioner

I was told that in the end of... Alcatraz versus the [Dark Talent], it says that you would be writing another book from Bastille's point of view.

Brandon Sanderson

Yes, I am. So, if you are not familiar with this series, I did this weird thing with this series. Alcatraz books are kind of making fun of epic fantasy series. Part of the joke is that they're making fun of them. So when I pitched it to my editor, I said, "I want to tell everybody there's five books. But then end on a massive cliffhanger, and then have the main character refuse to write the last book. And then have a different character in the series write the last book." And the reason I did this is because the character, Alcatraz, had been promising that the books would end on a downer note. And I both wanted to have a downer note and not. I wanted to have my cake and eat it too. So Bastille insisting she will write the last book has worked. I've got about half of it done. I have been having some friends read it and help me with it, because I want the voice to feel different, and I want the voice to feel right. So it's been a little tricky to make sure it doesn't just sound like Alcatraz, that it sounds like somebody new. But it will happen, and it's making progress.

Let's just say that Alcatraz's view on events is not very trustworthy, considering that's, like, the main theme of the books. So I'll let you know that.

Questioner

Do you have any idea when it might be coming out?

Brandon Sanderson

I don't know for sure.

Mike Potts

Are any secondary The Way of Kings characters likely to become more major in the next book?

Brandon Sanderson

Jasnah, Navani, and Taln all have expanded parts in the series to come. I won't say specifically in which books, but all three of those characters will have larger roles. Several of the members of Bridge Four have larger roles; they will basically remain secondary characters, but may have expanded viewpoints

Brandon Sanderson

The beginnings of the Cosmere I can trace back to being a teenager and I would read Anne McCaffrey books and I would always imagine a character that was my own that I had secretly inserted into her books and this character - I would insert into everyone else's books when I read them too. This was the start of Hoid, was this character who was appearing in everyone else's novels and I knew his secret agenda. It was very fun for me to imagine as a youth.

ketsugi

I'm not terribly fond of puns in fantasy unless the author expects us to believe that the characters are either speaking English or that the language that they are speaking has exactly the same puns.

Brandon Sanderson

It's neither one. Generally, the authors you're reading are pretending their books are in translation--and are generally providing an appropriate English pun to convey the tone of the scene. It happens in the real world, too. My books are all in English originally. When my translator for the Taiwanese editions, for example, runs across a pun, she often constructs a pun that works in the context in her language. The actual words are different, but the idea of "This character is making a wordplay quip" remains.

ketsugi

Thanks for the reply. One of my favourite things about this subreddit is the interaction with authors.How do you extend this to foreign languages within the world, then? For example, Tolkien's various languages, or the Old Tongue in Wheel of Time. Do we assume that the imaginary translator decided not to translate those phrases? If so, why?Made-up example:

"Supercalifragilisticexpialidocious," Tom muttered under his breath.

As, perhaps, opposed to:

"This is a truly stupendous event," Tom muttered under his breath, in Poppinish.

Brandon Sanderson

The idea is that the imaginary translator (who is basically the author) is trying to preserve the proper tone. Any time one of those phrases is written, the author COULD have just written the translated version. Why didn't they? There are a ton of reasons, but the most likely is to preserve the feeling the characters have in interacting with something they don't understand. This extends to which words we choose to translate even from the world. In Stormlight, I use the word 'havah' for a Vorin dress. Yet I call a coat simply a coat. There's a balance between not overloading the reader and providing setting immersion, and also a distinction between an article of clothing that is meaningful culturally and one that is less so. Being able to make these kinds of decisions is like adding a pinch of exotic spice to your broth, making it a unique and savory experience, and is part of what I love about fantasy over other genres.

Brandon Sanderson

Allrianne Finds the Bandits

This is a "Little bits of everything" chapter. There's a lot I needed to tie up–or at least touch on–before I got to the battle. You may have noticed (or read in these Annotations) that I tend to start jumping viewpoints a lot more quickly once the end of a given book approaches. By then the characters are established, and it's time to start giving the reader a stronger feeling of motion and action. I think the scene breaks help do this, though I'm not that cognizant of it when I write. I just tell the story, jumping scenes as I find I need to show more and more perspectives.

The first in our list of scene jumps is an Allrianne viewpoint. I think she may have one other in the book later, I can't remember, but this is the one that really stands out to me. I wanted to make sure to have a little bit of lightness in the story before everything goes south, so you get to enjoy this scene and the next one.

Allrianne totally cracks me up. This scene makes me smile every time I read it. I'm not sure what it is about her that works so well for me. I tend to like characters who are quick-tongued, and who act far more foolish than they are. Allrianne, then, is a classic Brandon character. It was very nice to be able to dip into a viewpoint like that for a short time.

Questioner

I’ve noticed in a lot of the books—Mistborn, Warbreaker, even Elantris—that the characters are working so hard towards a goal, and then once they did it or when they get close, all the sudden they realize that it’s doing the complete opposite of what they were expecting, or just was kind of a distraction for them or whatever, and so my question is: Is that just a good way to kind of throw in a plot twist that’s unexpected, or is that a reflection of kind of how you see our lives and what we’re doing, or something else?

Brandon Sanderson

I would say it’s both of those things, certainly. I was going to say as you were saying that “that’s just how life is,” but, plot wise, plot twists are tough, because—okay, how should I say it—bad plot twists are easy, right, you can just do anything, you can be like “alright, and then ninja’s attack.” (Aside: this is a regency romance, I don’t know where those ninjas came from…(That’s actually a story, if you’ve read that)).

Bad plot twists are easy. Good plot twists, I use a phrase that they use in Hollywood, which is “surprising, yet inevitable.” This is an age-old term in Hollywood where you want it, when it happens everyone to be surprised, and yet, as it happens, then they say “oooh, I should have seen that coming.” Those are the best plot twists. You can’t always pull those off—they’re really hard—but when you can they’re great, and that’s what I’m shooting for. I don’t necessarily twist my plot just to twist my plot; I try to find a story that is engaging and interesting and then the further we go along in it, the more you learn about the characters and the world and what’s actually going on and hopefully that reveals a hidden depth.

It’s like life. Everyone that you meet, you’re going to make a snap judgment on them. The longer you know them, the more depth you will see to this person. I want you to have that feeling about a book. You’ll make a snap judgment, “okay, this is an action-adventure story.” You’ll read it more and hopefully you’ll see those levels, of world-building, the hidden depth of the characters, the things you can’t get across in one page; that’s why I like writing big epic fantasies because it gives me a lot of time to explore all that depth. And I do the same thing with the plot. Everything is about more than one thing, and I think that that just makes for interesting stories that I like to read.

P. Lavy

As a beginner, I would like to ask your advice on how to narrow that gap between my storytelling and story writing. (I have watched your online lectures on fantasy and sci-fi writing).

Brandon Sanderson

You phrase this in a great way, as the writing and the storytelling are two distinct skills that often intertwine.

Reading into your question, I think that what you’re asking is how to make the things in your head (the storytelling) work on the page (the story writing). I have to warn you, however, that a lot of times there’s a little more going on than I might have mentioned in my lectures.

The metaphor I often use in the lecture is how, as an early trumpet player, I could hear some music I wanted to play in my head (specifically when doing improvised jazz) but didn’t yet have the skill to make those sounds come out the front of the horn. This is a good metaphor, but it leaves something unsaid.

A lot of writers can imagine a perfect story, but then have trouble writing it down. My experience tells me, however, that much of the time, that story isn’t actually perfect in our heads. We pretend it is because we can’t see the problems with it when we’re imagining it—we gloss over the difficulties, the issues that are quite real but invisible until we actually try to put the thing together on the page.

So you have two potential problems. One is that the story in your head isn’t, and never was, as flawless as you imagined. The second is that your skill in writing isn’t up to telling the things that ARE working in your head. Both are eventually resolved through practice.

To finally get around to some practical advice like you wanted, however, there are a couple of ways to bridge this gap. One is to practice outlining. Now, I’ve often been clear that there is no one right way to write a story, and non-outlining methods are valid. However, if you really want to start looking at the structure of your story critically, forcing yourself to outline it first can really help. Plus, one big advantage of a solid outline is that you’re able to keep less in your head while working for the day. You can look at the outline, know what story beats need to be accomplished, and focus your mental energy on things like showing instead of telling and really nailing character voice/motivations instead of worrying if this plot point will end up working or not.

These fundamentals are another really great way to bridge that gap. Few new writers fail because they lack vision, originality, or ambition. They fail because it is difficult to write a character that is compelling. Or they fail because it’s tough to evoke a sense of wonder in exploring a new world while at the same time not bog the story down with unnecessary details. Practicing things like voice, showing instead of telling, and evoking setting through character can let you make the page-by-page writing interesting and compelling, which then serves to make your story work long enough for you to get to the grand ideas.

Arcanist

According to [Sanderson's Second Law of Magic] your characters have flaws, weaknesses. What is the reason, that in a lot of them (Vin, Elend, Kaladin, Dalinar, Spook, etc) the most significant weakness is the lack of self-confidence?

Brandon Sanderson

It's because of mode-shifting. The people you noted have been doing one thing for a long time, and are now forced into something else. The self confidence is a side effect of that. However, I wouldn't say it's the primary character attribute for any of them, however. I think you're blanketing self confidence as a larger issue, when it's the smaller part of something larger for each character.

Vin: Trusting Others

Elend: Idealism

Dalinar: Conflict between the killer he was and the man he wishes to be.

Spook: Self Worth

Questioner

One of your characters wishes for and is given capacity... That is one of my favorite concepts of all the books that I read of yours. Can you talk about the inspiration for that gift of limited and maximum capacity?

Brandon Sanderson

To not give spoilers, there is a character in The Stormlight Archive who has asked the Old Magic, which is a force that kind of has references in things like The Monkey's Paw and what-not, a force that doesn't always give you things exactly the way you want them. And I built, by the way, the Old Magic into The Stormlight Archive because I felt that at a certain point, while I love to do these rule-based magic systems, I wanted there to be a contrast to it... It's kinda like this idea that, yes, modern science and things have explained a lot of stuff, but there's something primal, perhaps, in the past, I don't actually know. But that idea that there's a primal magic that doesn't really adhere to the rules, we can't anticipate it, was really, I felt, vital for me to include so that I didn't overexplain everything in the books.

So, there's a person who asked for capacity. It wanted to be, let's say, strong enough to lift (it's not actually strength, but it's more of an emotional thing) what was coming. That, I feel like, is a very real thing to wish for, right? I have frequently, like... people say "What would you wish for," and I say "The ability to fly," because I would love to be able to fly. But really, if I sit and think about it, capacity, ability, the capacity to hold all of this stuff in my head, would probably be the sort of thing that I would wish for. So this character, in some ways, is giving wish fulfillment for me, because that's what I would maybe ask for if given the opportunity, but even that kind of turns on its head because the Old Magic just doesn't get people in the way that people think they should be gotten.

Questioner

How can you make someone fall in love with a character? <Make them interesting?>

Brandon Sanderson

Those are both very different things. A couple quick tips. Relatable problem, even if it's not the main problem of the book. Making a character want something and not be able to have it is always instantly relatable to us. Making someone really capable and competent is another way. One of the reasons Indiana Jones works is we see how good he is at what he does, we are instantly intrigued by that as people. A good question, a good book question, can also work. Like, "Why would the character be doing this thing? It seems so odd." But likeable and interesting are very different things.

Questioner

Why, in your books, are your characters so often, per se -- before they get the powers they become broken first.

Brandon Sanderson

There is a narrative reason and there's an in-world reason. The narrative reason is characters in pain are more interesting to write about. This is just a rule of thumb for writing. Find the person who's in the most trouble, things are going the worst for and that's gonna be generally your easiest character. In the stories, the actual cosmere, the mechanics of the magic finds, this is one way to describe it -- it's not the only way -- may not even be one hundred percent accurate but it's an easy metaphor -- cracks in the soul allow the magic to seep in and that's how you end up with a lot of the different magic systems.

Questioner

My crazy theory is that Nazh was Isasik Shulin...

Brandon Sanderson

Yeah, he is not. Good question. Nazh is Isaac’s character, he designed him and came up with him. I said "I need somebody to be getting these" and the character is all him, doesn’t necessarily look like him. He doesn't actually look like him. But Nazh, he owns. He just credited that, and I knew people would look at that be like "What's going on here?" But it wasn't meant to be anything, just this is Isaac's character and if he ever-- He wants to write some stories in the cosmere, he might write about Nazh.

Questioner

Are there any specific choices that you've made in the story of the books that years later you go "Ah man, I wish I had done--"

Brandon Sanderson

Oh yeah, what a great question. Are there any things that i've done in my books that I've regretted. Like I'm like "Oh I should have done this" or things, many years later. There's basically one for every book. Or two, or multiples. *laughter* One of the big ones is, at the end of Mistborn Vin draws on the mist... I'm trying to avoid spoilers on this... which is something I'd been planning to do in Book 2, and then I wrote Book 1 and did all my outlines and things and my editor got back to me on Book 1, "Could we add more pow, more punch to the end of this book?" and I'm like "Yeah we can do this thing I was going to do in Book 2". But then it didn't feel foreshadowed to me. After I put it in and released the book, I was looking through it again like "This doesn't have enough foreshadowing." And this is where I developed Sanderson's First Law. I was "I did something wrong in this book." It's lack of proper foreshadowing on how the magic works. So there's that. There's all sorts of things, like at the end of Words of Radiance I had a character kill another character in a situation where I don't think he should have. He should have just let the character die to the environment or something like that. And so I actually tweaked that between hardcover and paperback. I'm not sure if I should have done that. I wanted to try it out and see. But yeah, every book.

Most of the time you just have to let it go, right? Elsa. You have to Elsa it. Because otherwise-- Was it da Vinci? "Good art is never finished it is only abandoned" right? Or just art, "Art is never finished only it is only abandoned". You've got to learn to just to let things go and let them be canon. And it's actually very-- I've found that readers are more forgiving of these things than the author thinks they will be. They're like "We like seeing early books, and the fact that you hadn't learned to do some of these things quite right yet. It's an aspect, a fun part of the writing". But yeah, basically every book that I wish. I wish, for instance, in Mistborn, that I had made Ham a woman. I was so focused on Strong. Female. Protagonist. that I forgot half the population are women. *laughter* And like years later I look back, I'm like "Ennnnhhhh... The whole team--" I do have Vin, who turned out really well, and Tindwyl in the next book. But in the first book you're like "Are there any women in this world? It's basically all dudes". So this happens to a lot of new writers, and if you guys are new writers, don't stress it too much. You're going to make mistakes. When they become obvious to you, just realize you're in a process. That's how you learn. You come up with goofy things like Sanderson's Laws to explain stupid stuff you've done to help yourself not do it in the future.

Questioner

Why is it that - even though we don't see this often - you've chosen to have some of your characters swear and some of them not?

Brandon Sanderson

You know, a couple of reasons. One reason is, I honestly don't think swearing is that bad. Using the Lord's name in vain is a different thing, which you will see me not doing. I think, as a writer, words, part of me is "It's a little silly that we associate two words that mean the exact same thing." Another reason is, I feel like there are certain places I have to let my characters go further than I would. Because otherwise, every character is gonna act like I would. I tried writing Mistborn books with made-up swear words, like I use in Stormlight. It just didn't fit the world. This is a really dark world where terrible things are happening, I'm like, "I can let them use a few Biblical swear words." And it felt right to me when I did it. My fourteen-year-old sister, when she read them, she went through and crossed them all out and wrote her own curse worlds in. Mostly "poopyhead," and things like that. But, you know, it's kind of a balance, I think, every writer has to make a call on themselves. Where you kind of stand on that line. Certainly there are certain words I haven't used, even still.

I think, maybe, we're a little too focused on some things, like language, and a little less focused on... Like, I'm far more worried about the violence in the books. And I've been actively trying to decide how much I pull my punches on that, versus not. Because I think that in our society, there's too much of a tendency toward glorifying violence. But that's the cool stuff, right? I love a Jackie Chan film. So where's the line between a Jackie Chan film, which is kind of showing off what the human being can do, and a glorifying in the killing of others. And that line is one that worries me, and that I'm far more concerned on, then whether or not I let Wayne use a little bit of colorful language. But that's my personal... everyone can make their own decision.

Questioner

I think Kelsier is one of the best-crafted fantasy characters I've seen in the world. He resonates with me on new levels. What exactly were your influences in the character when you were constructing him?

Brandon Sanderson

Two big influences for Kelsier. The first is, I wanted to do kind of the classic rogue archetype guy, but someone who had had something so fundamentally life-shaking in his life that he had to look deep within and become somebody else. But it's mixed with the other big inspiration, which is, there's kind of some psychopathic tendencies to him, and he would be a villain in many other books. But in this one, he's what the world needed. And those two combinations created for me a really nice tension inside a character.

Questioner

How do you come up with the David analogies and the metaphors?

Brandon Sanderson

Oh, man, this is so much harder than you think it is. For those who haven't read them, the main character is really, really bad at similes. And where it came from is, there's actually a contest every year, where people intentionally try to write bad similes, and submit them. And every year it comes out and makes me laugh. Just-- I love it. And I started writing Reckoners, and-- Normally, you read this things as an author, to watch out for things to not accidentally do. If you read the bad metaphors, you can be like, "Oh, this is why you don't want to do this. You don't want people laughing." You get aware of this sort of thing. It's very good for you as a writer to watch. And, lo and behold, I'm writing a book series, and I wrote a metaphor, and I looked at it, and I'm like "That is really bad." And you do this as an author sometimes, and sometimes they slip in the books, you just write it and they're really bad. And I went to delete it and I'm like, "What if I ran with that?" This is because I tend to discovery-write my characters. So, I outline a lot for my settings, and I outline a lot of my plots, and then I go freewrite who these characters are, and then usually I have to do a lot of rebuilding of my plot after I figure out who's who. And in the Reckoners, I just ran with that, I did the whole sequence, I did the whole first chapter like that, and I'm like, "This is really fun." And then I locked myself into it, and it got so hard. Being bad on purpose is, like, ridiculously difficult. But it was also part of the fun. I would save them up, I'd be walking on the street, I'd think of something, and I'd be like "Ooh, how do I make that bad?" And I'd spend the next fifteen to twenty minutes writing a really bad metaphor. And sticking it in my pocket, because they all have to be bad in different ways. If they're all bad in the same way, then that's not any fun, you get used to it. So they all have to be bad in different ways, too. So, yeah, it was harder than I thought, but it was a blast.

Brandon Sanderson

Elend and Vin Ride out of Luthadel, Allrianne Joins Them

And Tindwyl and Elend end on a sour note. I guess that's appropriate.

Allrianne is one I'd been wanting to add a shade of depth to for a while, and I saw my chance here. We'll get a viewpoint from her in a short time–just a short one, and it won't do much except maybe give her a little rounding out.

You can thank Isaac (aka Nethermore, the guy who did the internal art for the Mistborn books) for naming the gates in the city. He was the one who, when doing the city map, realized that it would be cool if the eight gates were named after the eight basic metals. It made so much sense; I'm surprised I didn't think of it.

Vin and Elend do manage to escape the city, as they had hoped. My big worry here is that readers will be frustrated that I'm sending the two main characters away for the big battle. My big hope, however, is that readers will take this as a sign that nasty things are coming for the city. I think this chapter here leads to some real potential for tension in the siege itself.

Atop the wall, as the team watches Vin and Elend leave, we get another exchange talking about Sazed and his belief in a lot of different religions. I hope I didn't lay it on too thick; I just wanted to show some character dynamics as he talks to other characters. You can also note here that Ham is back to calling Elend "El." (Against Elend's request earlier in the book.) Ham started that up a while ago, actually. He's not the best at following orders.

Zas (paraphrased)

What about Aon Rii? Talk about Aon Rii. What are the random dots? Are they valuable metals?

Brandon Sanderson (paraphrased)

Honestly, I don't remember. [laughter] I'll be straight up honest with you, I designed the Aons—When I designed the Aons, they all had things like that. Like "Oh, that's what this will be," but I was not as good about taking notes of things then. I didn't have the wiki that I now have. I didn't have all of that stuff, so I can say "Yeah, that's going to be valuable metals", and canonize it that way, but I don't remember what I was actually thinking when I designed it. It was my first time doing anything like that, like [?] sort of thing. I hadn't ever done anything like that before, so I was just flying by the seat of my pants.

In fact, there's a fun story about that, a story I don't think I told during the annotations, I might have. Originally, I wrote it, and used all the Aons as like little things about characters' personalities. Like Rao is spirit, and Ene is wit. Well, all the other ones were things like that, to the point that the traitor character, his Aon's the one that meant Betrayal. Like this, all the characters have little things like that. And then my editor saw it and said "Ah. Do you really want to give away everyone's personality? And who's going to name their kid Betrayal? And I was like "That was really stupid Brandon, why did you do that?" But at the time, I didn't know if I was going to have a dictionary in the back or anything, and so I had to go back and rename almost all of them. I left Rao and Ene, but I renamed almost all the—renamed the wrong word. I shifted all the meanings and things like this so that everyone would have a name that would make sense that you would name a person. And none of them meant anything more than what they actually mean.

Questioner

I just have been noticing this, and it's not exclusive to any author, it's just this kind of theme that simply tires me. Main characters, they die, and then they come back to life. or they just don't die. And it makes it so much less exciting for me. So, I wanted to ask you what you think about that?

Brandon Sanderson

So, here's the thing. Because fiction isn't real, death is meaningless in fiction. The only real things in fiction are the emotions we make you feel, and different stories try to do that in different ways with different themes. For instance, I don't think Lord of the Rings is ruined by the fact that Gandalf has a resurrection, because of the emotions you feel, and then the other emotions you feel, and things like this-- and there's something universal about it. And so, I don't think I'm as big on it as that, because deaths-- maybe it's because I'm a writer, everything feels arbitrary in books, except the emotion that I put upon it, if that makes sense? And I always find that what the characters are going through is the more interesting than an abrupt end, but I guess that's just kinda me.

If you say that, then books can't have resurrection as a theme, or rebirth, which is, like, one of the most interesting themes in existence. But everyone has different tastes, there's no wrong. Not liking it is not wrong. I mean, plot armor also has this thing where we tend to not kill characters arbitrarily, we tend to do it at dramatic moments, and things like this, because the story is better that way, right? And there are some people, like George Martin, who just try to throw this out the window, to tell a different story by doing that. But, of course, resurrection is a huge theme in those books.

Questioner

You have written before on Reddit that you had to add some scenes for Perrin in the epilogue, even though the majority of the epilogue was Jordan's. Did you have to figure out endings for any other characters, or did he write them?

Brandon Sanderson

I did have to come up with endings for other major characters. Other than Perrin, they were strongly suggested by the notes or by the books. And technically, he had in the notes, Perrin's absolute end. One of the few things that it said was, "Perrin ends up as king." So, his absolute end. But I did have to do lesser than Perrin, but still some major.

Questioner

Perrin finding Faile. Was that Jordan's? Or was that you?

Brandon Sanderson

That was me. He did write the scene-- I think this is the epilogue, where Mat comes back to Tuon, and things like that. Like, that whole scene was finished. The whole scene where Rand comes out of the cavern, all that stuff was finished. Some of the stuff with... Cadsuane, we had to extrapolate. Not extrapolate, he had some of the things in the notes. Some of the other ones, we had to. Others you would consider main characters, we decided on. Harriet decided on a couple of things.

Questioner

Galad and Gawyn?

Brandon Sanderson

I'm gonna have to RAFO that, because I think Harriet has not wanted me to go down that path. I would say that major chunks of the Egwene and Gawyn plot were finished and written, particularly a lot of the stuff in Towers of Midnight. But there's a few things she's asked me to stay away from. One is who decided what happened to Egwene. Harriet has asked me to ease off on that one.

Questioner

What was your inspiration for Steelheart's weakness...

Brandon Sanderson

Without spoiling Steelheart, the inspiration for the weakness was a direct outgrowth of who I saw him as a character before he gained powers. Kind of the bully sort of person given a little bit of power, exercises all kinds of terrible, just really mean to people with just a small amount of power. That character was really fascinating to me, the person who really doesn't have any authority, but still what little bit you give them they misuse. And I grew out of that, that idea. So, I kind of wanted to connect--slight spoilers for the series--but I kind of wanted the weaknesses to connect to the personalities of the characters in interesting ways, so it was a natural outgrowth there.

Questioner

Where did the idea to split The Way of Kings and to make it take place in multiple places come from?

Brandon Sanderson

The Way of Kings taking place with the different timelines? So Way of Kings I wrote, the very first version of it--in its contemporary form, I wrote the first book about Dalinar when I was a teenager--but the very first book called The Way of Kings I wrote in 2002 and I tried to cram way too much into that book. The big failing of that book was I tried to do everyone's story at once. And so when I re-wrote it in 2009, or whenever it was, I decided I would take the characters and spread them out across the 10 book series and I would focus on a certain set of them early on and then transition into other ones. But in order to maintain some of the complexity I like in my books, particularly big epic fantasies, I added in the flashback sequence, one per character per book as a means to adding some depth and complexity but using it to build up a character you already knew, rather than doing someone completely different. And so this kind of allowed me to tell the story the way I wanted to, by doing-- That did mean I still had to have two separate timelines because I needed to do Shallan and I needed to do Kaladin, 'cause I knew they were going to be important, interacting together for the next few books. Which did put me in two different places but that was much better than the six different places the original had. And it's just because I like complexity, I like a book that everything comes together at once.

Questioner

Where do you get your people from? Do you take inspiration from people you know in real life?

Brandon Sanderson

Yes, yes I do. Sometimes, sometimes not. As I said, usually the seed that starts a character for me as I grow them is a conflict. For Kaladin it's the conflict between being trained as a surgeon and finding out you are really good at killing people, and how do you deal with that. For some it can be very simple, for Sarene I had a friend who is a woman that is 6 foot 2, or whatever she is, *to the side* How tall is Annie? She's tall. Anway, Annie's tall, and she always complains about how tough it is to be a tall woman. Which is something I never thought of, I'm like "I'm going to use that. I'm going to make use of that in a story," Of course that isn't her whole personality, but that little seed, you drop down and I grow a personality around it as I try someone out... That person I knew, a piece of her turned into a character. For other things, it's just trying and trying and trying untill something works, as I explained before. It is "What has their life done to them", often times it's "What are the passionate about? What do they want? Why can't they have what they want?" Those sorts of things lead me into creating a character

Brandon Sanderson

All right, folks! Time for the fifth update. This should be the last one that I post before some redditor inevitably beats me to the "It's Done!" post by watching my twitter feed very closely.

I do hope to post another update or two during the next year, discussing how the editing and publication process is proceeding.

Part Four is done as of half an hour ago. The part is around 80k words long, and brings the book total so far to 420k words. Final book is still projected at 450k, though I do plan to try to trim it back in revision. (Tor's book binding company can't do a book longer than Words of Radiance, so if I go longer, we have to shrink the font or change binders. I won't cut important parts of the book just to meet this length requirement, but I also generally need to trim significantly in revisions to tighten language.)

Part Four turned out very well, and I'm very pleased with the book so far. I consider it as strong, or stronger than, book two. I also don't see any major structural or characterization problems that will slow editing. (So far, my editor's comments on Parts One and Two have been minor, save for the slow-down in Part Two that I was aware of--and probably don't mind existing, since Parts Three and Four are much faster, and the characterization in Part Two is strong.)

If you're following the Visual Outline from the second update, there structure of the book has undergone some revisions as I've worked through it. It now looks something more like this

Unlisted is that I nudged one flashback into Part Five. Shown is that Secondary Main character #2 had their viewpoint stretched through all five parts, but has a slightly smaller number of viewpoints in all of them. I juggled tertiary characters, making Parts Two and Four the expansive ones (with many viewpoints) and Parts One and Three the narrow ones (with a focus only on the main characters.) Yes, this is complicated, and you don't need to pay any attention to it. I posted this for those who like to dig into these things.

I'm going to power forward into Part Five starting tonight, then do a second draft of Parts Four and Five together. (I'm not sure why I'm treating those like proper nous.) After I turn that in, I will still need to write the prologue, some of the interludes, and the epigraphs. (Those little bits of text at the starts of chapters.)

And then, revisions. My favorite part. Yay.

As with previous threads, I'll try to post answers to questions where I can--but I have to balance that with the actual writing, so some questions will go unanswered or get a quick RAFO. I apologize in advance for that. Despite jokes to the contrary, I really am just one person, and I can't do ALL THE THINGS, as much as I would like to.

Also, thank you to the community for your kind words. I know that people joke about my writing speed, but this book has taken over a year of dedicated writing--and that's not counting the year before of outlining and writing out some of Kaladin's chapters. It's been two full years of work, and then some, to finish this book. With another six months of revision ahead. Together with other projects, that will make three and a half years between books two and three. So I do beg your patience with this series. The books take a lot out of me, and while I'm very proud of the result--and consider this series to be my opus--the novels aren't going to be terribly fast in their release schedule.

Questioner

I think [my class] enjoy [Skyward] because you have space fights for boys, and for the girls you have a female protagonist. We wondered if this was your intention for choosing a female protagonist?

Brandon Sanderson

No, it really wasn't. My intention for choosing a female protagonist was, she was the character I was most interested about writing in this world. I do try to make sure I have a balance, kind of in vague terms. But mostly I'm like, "Who is the character that this story matches best?" And Spensa, she was raised on Conan books, and she wants to be a warrior like that. And she's very different, she's very weird, in the sort of weird way I like to write people. And she's just somebody that I was kind of bursting at the seams to tell her story and to get her into a book.

The original idea for Skyward came from my love of stories about boys and dragons. There's this classic story that gets told. Kid finds a dragon egg, and then they hatch the dragon egg in secret and become this dragon rider. It's the story of How to Train Your Dragon. (Not a dragon egg, but he finds a dragon.) It's the story of Eragon. It's the story of one of my favorite books of all time, Dragon's Blood by Jane Yolen. There's just a ton of this type of story. And one of the things I like to do is isolate a story's archetype, kind of try to break it down to "Why do I love it? What makes it work?" And then try to build it up in a new and different way.

Stormlight, the Bridge Four sequence, I built off of an underdog sports story. Like, if you've seen Hoosiers or Miracle or any of these stories about an underdog sports team who takes on the world. That sort of archetype became the Bridge Four sequence. And Skyward came from the kid and his dragon stories. And that was the seed of it. But Spensa was always going to be the protagonist of that. She was just a character I knew I needed to write.

Questioner

Was Adolin and Shallan always the endgame, or did you ever shift to Kaladin?

Brandon Sanderson

I did shift, back and forth. So, what I do with a lot of my relationships is, I don't usually plan them out. A lot of characterization, I have to leave the characters kind of their own volition. So I write my way into relationships and I write my way into the character elements. I plot my world, my setting, and my plot out ahead of time but I let the characters go where they're going to go. I know some people would rather she made a different decision, but that is the decision that felt right to me going forward.

I've just validated all the Shallarin people on the internet saying, "Aw, he changed his mind!"

Brandon Sanderson

Chapter Thirty-Four

Marsh Kills a Smoker

This chapter was a late addition to the book. My agent, during his second read through the novel, noticed that Marsh basically disappeared through the middle of the novel—much as he had in book two. In addition, the reader got very little sense of what was happening in the Central Dominance while all of the characters were out taking care of other cities. In my books, the cities themselves tend to be characters, and Joshua was disappointed to not have at least a few token mentions of Luthadel in the middle of book three.

I agreed with him, and that's where this Marsh chapter—along with the next one—came from. An attempt to have him doing something, rather than just sitting around being controlled by Ruin, while at the same time showing some of what is going on in places where there aren't any main characters to narrate for us.

Samuel Montgomery-Blinn

A lot happens before this book opens—how did you pick an opening for Wax's story, leaving so much of the backstory with Wayne (and others) to be picked up and absorbed on the fly?

Brandon Sanderson

I usually like to start my books in medias res to an extent. It brings across the sense that I want to portray, which is that the characters all existed before the book started, and the characters continue—those who survive—to exist after the book ends. That helps with the sense of immersion. Granted, each book tells about a very important chapter of the characters' lives, and there's a distinct beginning, middle, and end to that chapter, but if the beginning or end are too hard and fast, it feels contrived to me. So I do this with all of my books.

It's usually harder to figure out a starting point than you might think. I often have to revise my beginnings very heavily. This is no different from my other works; in the Mistborn books I've had to do this often. The prologue for [The Alloy of Law] was actually written to be the prologue to a sequel, and after I wrote it, I thought, "No, that needs to go in this book." We did a lot of shuffling around at the beginning of this book to find the right starting point.

cantoXV1

Brandon, how was character creation different for Children of the Nameless compared to the rest of your other works?

Brandon Sanderson

Character creation wasn't that different--I start usually with a conflict or a theme. For Davriel, it was "Economist gets magical powers" mixed with "Person who uses contracts with demons not for crazy power, but to get good staff members."

For Tacenda, I was looking at her curse and the way she uses music. (Mixed with the conflict of being able to hear your entire village get killed--but not being able to stop it.)

From there, I did apply some MTG philosophy to the refinement of the characters.

Brandon Sanderson

We will find a time to eventually release this book [Apocalypse Guard]. It's interesting; when you add us together, oftentimes things just get weirder. They get better, but they get weirder. You can actually go listen to my version of that chapter read at some point in the past, and you will find it's actually much worse. Adding us together really does enhance. But the problem is: we go off the rails real fast in books, the same way we go off the rails in panels. So now, Dan's pitched it back to me to fix the structure, is what we need. The magic system is part of that, but it's really the structure, because the climax doesn't work anymore. It never worked; it still doesn't work. The character was broken in the original draft, and Dan fixed that. Because character is Dan's thing. Now, I've gotta figure out how to make the structure actually work. Which will be a project of mine coming up eventually.

Dan Wells

What I love about it, though (and if you go and find his original thing, then obviously you'll be able to compare and contrast them and do your whole English essay on it), reading that, I can't really tell what is me and what is Brandon, because I think we managed to combine our two styles pretty well.

Brandon Sanderson

My voice for this book was already... Emma was a little goofy. And Dan just picked right up on that, and it was instant. The voice was a little off, in the first one. It was trying a little too hard to both be dynamic and funny. And it turns out just nudging it a little more self-effacing funny made the whole thing worked. And the character just snapped together. So the kind of just slightly off sense of the characterization ended up really working. But I had known that the magic was broken when I gave it to Dan, and I'm like, "Will you fix this?" And then Dan came back and said, "This isn't the sort of thing I fix. This is the sort of thing you fix." So we will find a time for that, eventually.

Questioner

What was your hardest character to kill?

Brandon Sanderson

Oh. That's spoileriffic. I would say it's a character who dies at the end of The Wheel of Time, which is a series that I finished for another author. Because it was someone someone else created. And then, having to write some of those scenes.

Questioner

That would be really hard, because you're killing somebody else's character.

Brandon Sanderson

Right? And somebody I grew up with, right? So, I would say those are the hardest guys.

Brandon Sanderson

Author's Foreword

This is probably a good place to talk about the shift from third person into first person.

The book was originally written in the third person. There was a narrator telling us this story–someone listed as “Cecil G. Bagsworth the Third” on the title page. (Cecil, by the way, was invented by my friend Dan Wells as a humorous alter ego. I borrowed him for this as an inside joke, but eventually cut him–then put him back in as Alcatraz’s Free Kingdoms editor.)

There was a joke inherent in the narrator guise for this book. As the novel progressed, you realized that the author of the book was indeed Alcatraz, who was writing it and talking about himself in the third person. This let me have all kinds of jokes where the narrator would exaggeratedly describe Alcatraz as being smart, witty, or handsome. It also let me get away with some very clever word plays.

The problem is, it was too clever. Meaning that it was something I found funny, but that undermined the book. Since it was so convoluted and strange, it distracted from the story and the characters. It also felt a little bit too much like the Lemony Snicket narrator used in the A Series of Unfortunate Events books.

Credit for getting me to change the book from third person to first person goes to my agent Joshua and his assistant Steve. Joshua was very firm on the need to swap out the third person narrator for a first person that would bring us closer to the character of Alcatraz, while at the same time give a more solid narrative reason for all of the diversions and asides in the book.

Once I came around to this suggestion–which didn’t take much–I realized that I’d need a foreword to explain why Alcatraz was writing this book. Now that the ‘third person who is the first person’ mechanic was gone, I could create and use a backstory for why Alcatraz is writing his memoirs, which I ended up really liking (far more than what I lost) for what it let me do.

This introduction not only lets me acclimatize readers to the difference between Librarian lands and the Free Kingdoms, but also lets me begin to establish the character of Alcatraz the failure–the person our hero will become. That gives some tension to the narrative, I think, as the reader wonders how Alcatraz ended up like that. This introduction gives a framework to the fictional publication to the book, giving us a story we can all–as readers–be part of: the resistance against the Librarians.

Assistant Peter’s note: I’ve put up the original third person versions of the first two chapters. You may enjoy comparing them to the final versions.

Brandon Sanderson

Chapter Six

In this chapter, we first get to see some of the scars that Hrathen is hiding. Part of what makes him such a compelling character, I think, is the fact that he considers, questions, and seriously examines his own motivations. The things he did in Duladel are a serious source of guilt to him, and his determination to do what is right–even if what is "right" to him isn't necessarily what we would consider right–gives him a strength of character and personality that is hard to resist.

He combines with this sincerity an actual force of logic. He's correct in his examination of Arelon. It has serious problems. It has weak leadership, weak military forces, and a weak economy. Hrathen's logical explanations in this chapter of why he feels justified in trying to overthrow the government should sound fairly convincing.

On the other hand, we have his whole "Tyranny in three easy steps" discussion with Dilaf. It's this sense of twisted goodness that rounds out his personality as a villain. He's not just earnest, he's not just logical–he also has an edge of ruthlessness. That's a very dangerous combination in a character.

Speaking of the "I will show you the way to destroy a nation" line, this concept–that line, actually–was one of the first things I came up with in my mind while imagining Hrathen. The way that he logically approaches something that would seem daunting–even impossible–to an outsider is a strong part of what defines who he is. I also really enjoy finding opportunities to show how Hrathen sees the world. Whenever I place him on the Elantris city wall and let him inspect the defensibility of the city, I give a clue as to how he was trained, and how he thinks. I don't believe that Sarene ever pauses to consider just how weakly fortified the city of Kae is–but Hrathen thinks about it on at least three separate occasions.

Brandon Sanderson

Chapter Six

Siri Is Bathed, Then Sent to the God King

This was a strange sequence of chapters to write. I've spoken before on writing characters of the opposite gender. This has grown easier and easier for me over the years, partially—I think—because I started out so bad at it that I insisted on forcing myself to practice and practice. Now, it's usually as easy for me as writing men. In fact, I don't even think about the gender of the character when I'm writing—I think about who the character is. What their motivations and conflicts are. How they see the world and how they react to things. True, their gender does influence this—just as it influences their personalities. But I don't sit down and say, "I'm going to write a woman now." I sit down and say, "I'm going to write Siri." I know who Siri is, so I can see through her eyes and show how she reacts.

All that said, I'd never before tried writing a wedding night from the viewpoint of a woman. It presented a few interesting challenges. For one, there's a whole lot more nudity in this book than in my other books. I don't shy away from this (even though I myself am probably more conservative than most of my readers in areas of sexuality), as I feel that what you do with your imagination is your own business. This scene could be done in a PG way, a PG-13 way, or an R way. It's completely up to you how you want to imagine it.

One interesting thing to note is that my own wedding happened during the process of writing this book. I wrote this chapter before then, but I was engaged at the time. While working on the novel I got to go through the entire progression of awkward moments of a wedding night myself. (Yes, it was our first time, by choice.)

I think that probably colored how I wrote Siri's viewpoints throughout the entire book.

Questioner

You mentioned you like the interludes-- that the assigned characters don't take over the story. Is that to say that we will never really see those characters again or do--

Brandon Sanderson

You will see them on occasion. For instance, in the first book there's a guy named Axies the Collector, right? And in the second book in one of the interludes somebody walks by him, right? But the idea is that the interlude characters, for the most part are-- I'm not promising you an entire story about them. They-- you're getting a glimpse of the world and most of them will not return. A few of them will, on occasion. You'll see references to them and things like that. Their main point-- the main point of them is so that we can-- I can just have a pressure valve to just tell stories about Roshar that don't have to necessarily be in the main plot. Though I always choose one-- I choose them very specifically, right? I do them knowing that there's something-- some part of the world that you need as a clue for later on. If you like foreshadowing and stuff, a lot of these have foreshadowing.

Questioner

So, I noticed that you use a lot of principles of leadership and freedom in your books. Where do those come from?

Brandon Sanderson

A lot of the different things I've read. A lot of my own research, my own feelings on it. Talking to my friends who are in the military who know a lot about these sorts of things. What you get in the books is partially my own personal philosophy, but partially how I feel the character would feel about. You usually get a mix. It's not exactly what I think, but it's what I think the character would think, and I created the character.

Marc Aplin

Okay, another question that's kind of similar to that one. Why are so many Alethi point of views used as opposed to others?

Brandon Sanderson

Why are so many Alethi point of views used as opposed to others? This was basically one of the changes I made as I was working on the series. I originally had planned to show all of these viewpoints, from all across the world, and I found that, when...the original time I tried this book, that since people's plots weren't interwoven together, the book was very difficult to read. Because people weren't connected to one another, emotionally and spiritually. And so because of that, when I rewrote the book, when I started again, I made sure to put Dalinar and Kaladin and Adolin in proximity of one another. So that this story...their stories would play off of each other. And so you would have a consistent storyline.

That said, we do have...you know, those three are all Alethi. But Shallan is not, and Szeth is not. And those two have fairly significant parts in this book. Most of the characters will be Alethi for that reason, that their stories are tied together. But you will....see, this is one of the reasons why, with this book, once I pulled everything back and was telling Alethi stories, I felt I needed to show the breadth of the world, and that's where the interludes came from, was me wanting to jump around the world and show all these different other characters and cultures, but shown in bite-sized portions so you didn't get overwhelmed with all of these different characters, that you knew when you go to an interlude, you can read this person and then you can kind of forget about them. You don't have to follow who they are, because they're there to show you the breadth of the world and what's going on, but not necessarily to show you...to go on a big distracting tangent.

Questioner (paraphrased)

I've been listening to the audiobooks of Stormlight. There are some really great character voices. Have you told him how to do the characters?

Brandon Sanderson (paraphrased)

I have not told him how to do characters. I leave that to him. I give him pronunciations.

Questioner (paraphrased)

So the Australian Lopen is all him.

Brandon Sanderson (paraphrased)

Yeah, the Australian is all him. Which is weird, because they're, they're based off of Hispanic cultures, so, hearing the Australian... but at the same time, they're not Hispanic, because there are no Hispanics on Roshar, so an Australian's probably just as accurate as anything else. But yes, I intended the Herdazians to have a Hispanic flair to them.

Brandon Sanderson

Straff Plot Climax with the Poison

And, finally, we get back to Straff. His cycle is filled with quite a few short little scenes, and I suspect that many readers won't pay attention to them. Still, if I'm going to give someone a viewpoint, I like to give them conflicts and problems unrelated to the other characters. It makes the characters and their lives more real. In this case, Straff's problems with a former mistress surface in a revenge ploy.

As I said, it's a small thing, rather unrelated to the overall plot of the novel. When Tor was pushing for me to cut the book (which I didn't end up doing) I left these scenes because I felt that they 1) Worked quite well and 2) I think they gave a little more depth to the story, showing that characters have lives other than the main plot.

The mistress lies here, by the way. Going cold turkey on that drug probably wouldn't have killed Straff. It might have, but probably not. Still, being under her power probably wouldn't have been very fun for him. He didn't kill her intentionally–he really was just losing control of his anger under the influence of panic and poison. This is one of those little twists that I hope feels very realistic under the circumstances, but is also unexpected.

Brandon Sanderson

One of the advantages of moving the first chapter back and making it a prologue is that I now get to start the book, chapter one, with Vin. That's important, in my mind, because she's the main character of the book. Establishing her with a very strong viewpoint as the first chapter of the book adds a lot to it, I think.

We get a lot of important information in this first little section with Vin. I like starting early with Reen's advice and thoughts. As you'll see as you read the book, Reen's teachings have quite a strong influence on Vin. He's a little stronger in this chapter than in others, I think, but it's good to start off strong. You'll find out more about him, and about what these thoughts in Vin's head mean.

I will admit that one of my weaknesses in writing is that I like to spend too long in contemplative, in-head scenes with my characters. This introduction with Vin is a good example of that. I like the scene quiet a bit, but I can understand that too much of this sort of thing gets boring. That's why I move it quickly into a scene where something is happening. Given my way, however, I'd probably spend about twice as long with characters just standing around thinking.

Questioner

You have books that contain three completely different magic systems, that they're little or no resemblance to anything I've seen before. Where do they come from?

Brandon Sanderson

This comes from my personal philosophy on the fantasy genre. I've been reading it for 20+ years now. I love the fantasy genre. But I personally feel that the genre hit some points in its career where it stagnated a little bit. It was not branching out as much as it should. And that was part of the drive behind me writing what I write. Now, I'm not pointing any fingers, it was just on us of the new generation to say, "All right, where can we take this genre?"

That's what happened in science fiction. If you go back, science fiction was one thing. And then the next generation made it something else. And then the next generation made it something else. It's why science fiction has such depth to it. And you can still find all the original stuff, and people are writing things like that right now, but you can also find this whole wide variety. And so the genre is extremely varied. And fantasy is a newer genre. It really is epic fantasy, really though. Fantasy goes all the way back. But epic fantasy was a genre that did not have enough of this variation to it, in my opinion.

The trick is that being really varied with your plots, you can do it, it just makes generally bad plot. You can do completely unexpected or completely depressing, you can do weird things with plot, but they're either confusing, or they aren't very fun to read. That's not to say nobody has ever done it, people do, but I really felt that fantasy, rather than plot, the place that it needed to innovate was in setting, and maybe in style. I really like how fantasy is kind of inching toward this... you see more gunpowder fantasies nowadays, you see more fantasies set in an African culture or an Asian culture, things like this. And this sort of expansion has really helped the genre quite a bit.

So, the magic systems, where do they come from? They're what I'm most excited about in the genre, so it's what I do naturally. Mostly, when I buy books and I read them, I'm like, "Come on. This same magic. Again? Can't we do something new?" So, it just happens naturally. I do want to say, at the end of the day, a generic magic system and a generic setting plus fantastic writing and characters is still better than the best setting you can imagine with boring characters. So, as writers, I would say to you, keep that in mind. You really need to learn to write killer characters and an engaging plot. But then, I suggest a lot of variety with the setting or the style, and ways that you can approach your writing.