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Skyward Chicago signing ()
#2 Copy

Questioner

As far as Hemalurgy, when you give that-- when it's done to somebody, would that create a new resonance?

Brandon Sanderson

It's possible that it could. Though I'm gonna say, most of the time, no... Lots of things are possible, but I'll give you a "mostly no" on that one.

Questioner

What about savantism? Is that possible with Hemalurgy?

Brandon Sanderson

Yes, it is.

WorldCon 76 ()
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Thousandarms97

I know Allomancy is, like, "alloy" and "mancy." Were you inspired by "alomancy", which is the divination of salt?

Brandon Sanderson

I wanted to use "mancy" because in part I was working in a seeing-the-future with atium. And I thought: number one, it's resonant; and number two, it works because we are looking at the future. So that's where the name came from.

Thousandarms97

No future salt-based magic system, though?

Brandon Sanderson

No. I've toyed with it for a while, but I just have never come up with anything that I'm satisfied with.

JordanCon 2018 ()
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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.

JordanCon 2018 ()
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yulerule

So, we have Shard names; Ruin, Preservation, Harmony, Cultivation, Honor, Ambition, Autonomy, Devotion, Dominion. Those are pretty much regular English words. And then we have Odium. That's a little more Latinate. It's not-- It doesn't fit the pattern.

Brandon Sanderson

So I don't really look as something as Latinate or Germanic, when I'm picking the names usually.

yulerule

But this one is more. Even in Devotion or Dominion, they're still more regular English. Why?

Brandon Sanderson

I just look for the thing that feels right. Remember, all these words are in translation. When you read the book, they were a word in the original language of the book, that then we have translated to English. And so, don't look to much about what's Greek, what's Latin, what's Germanic. I will mix those a lot. And that's just because I'm looking for the word that has right resonance in English, that I'm writing in. You might even find Latin and Greek mixes in some of my stuff. And that's not done to be like, "Oh, you should be paying [attention]." Usually, I'm just looking for a flavor.

yulerule

So it's the flavor-- Because I actually did have it - they're all translations, why not Hatred [instead of Odium?] 

Brandon Sanderson

Because Odium is cooler. It just sounds cooler. There is no answer other than "I like the word better."

yulerule

Is there any connection with the thought that it's not Hatred? Because in Oathbringer, he says he's Passion?

Brandon Sanderson

He would claim that he's Passion and not Odium. But that is part of why I chose it. Hatred felt too on-the-nose, because there is quite arguably that step toward just being all Passion, and that's what he claims that he is.

yulerule

His own perception of himself, can perception, in the cosmere, can that influence?

Brandon Sanderson

Yes, it can influence.

yulerule

So the Shard's Intent can--

Brandon Sanderson

Can be influenced by their perception and the holder's, yes.

Salt Lake City signing ()
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Questioner

I was wondering, with resonance. Is that a sort of constructive interference?

Brandon Sanderson

Constructed? No. Resonance is more about the way-- It's more of a natural interference.

Questioner

So what I mean like, you have two waves, right? And if their troughs, you know--

Brandon Sanderson

Okay, is that the formal term? For the constructed.-- Oh constructive? I thought you had said-- yeah. So yes, I would say that that is an accurate phrase. I mean obviously it's not exactly the same thing. But yeah, that's what I was looking at when I was building it, was kinda things like this with waveform patterns and whatnot. So yes. At least, it was inspired by this kind of idea.

Oathbringer Edinburgh signing ()
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Hoidonalsium

The resonance between various powers, specifically about Shallan... The way that she seems to be sort of Soulstamping herself, is that due to a resonance power? Or is that something external—or is it mental?

Brandon Sanderson

...It's a combination of the two, but it's not resonance. It's more mental health and her magic kind of interacting.

Oathbringer London signing ()
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kalamitous_emoashions

With Hoid, we know that he's got some sort of Lightweaving, Yolen magic. If we're gonna hypothetically say that he bonds with the Cryptic, at the end of Oathbringer. Talking about resonance between magic systems, what are we going to see if he tried the two together? Would they be separate? Or would they form some sort of resonance magic system?

Brandon Sanderson

So, I'm gonna go ahead and RAFO that.

Oathbringer London signing ()
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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.

Oathbringer San Francisco signing ()
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Weltall

MaiPon and JinDo are based on Korea and China you've said, I thought that Dominion and Devotion have some resonance with Confucianism-

Brandon Sanderson

They do, the yin and the yang and things like that, absolutely.

Weltall

So that was intentional?

Brandon Sanderson

That was very intentional. Yeah, I've always been fascinated with, like, the blue and the red, right? The things that are opposite but to some cultures and not to others. Like, that was really, that was the Ruin and Preservation thing, right?

Supanova 2017 - Sydney ()
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Darkness (paraphrased)

Is there any Spiritual or Cognitive effect on the subject of Shallan's memory collecting?

Brandon Sanderson (paraphrased)

Well… …

Darkness (paraphrased)

Simply from taking the memory, not from the consequences of seeing the pictures or anything.

Brandon Sanderson (paraphrased)

Right… no, I would say no, but there is a sliiiiight Spiritual Connection happening. So, so… but it doesn't really have an effect on the person.  I mean, you could say, you could make the argument that any slight Connection like that does have one. But I don't want you to read that much into it. So the answer is yes, with an asterisk of no.

Supanova 2017 - Sydney ()
#15 Copy

Darkness (paraphrased)

Further on in that… do different gemstones hold a different flavor, or different "frequency" of Stormlight?

Brandon Sanderson (paraphrased)

Umm…. Nnnnnnnnooooooo… But kind of? Here's the thing: So with the gemstones on Roshar… scientifically some of these gemstones are just really close to one another. Like chemical formula and whatever. But, their cognitive selves and their spiritual selves are gonna be very different because of human perception, right? (sure) And so, the answer is both a no and a yes because of that. So people's perception has sort of changed how the magic works, to an extent… but it's the same amount of investiture, just with slightly different flavorings.

Darkness (paraphrased)

Right, so… is it easier for a Soulcaster to turn rock into smoke with a smokestone as opposed to a ruby?

Brandon Sanderson (paraphrased)

So… Soulcasting… is gonna really depend on whether you're using a soulcaster.

Darkness (paraphrased)

First is for a Soulcaster, second is for a Surgebinder.

Brandon Sanderson (paraphrased)

A Surgebinder is far less constrained than someone using a device accessing surges, right? A Knight Radiant is far less constrained than somebody using a mechanical means of accessing magic, and I would include Honorblades as a mechanical means of accessing a surge.

Darkness (paraphrased)

Cool! So with the whole Jasnah scene, she inhales Stormlight, for using Soulcasting. So how is it the Soulcaster appears to glow more fiercely instead of growing dimmer in that scene?

Brandon Sanderson (paraphrased)

Um… heh heh heh… So… this is perception on Shallan's part, watching and kind of resonating with the Soulcasting, and some weird things are happening that she sees, and not necessarily anyone else is seeing.

Darkness (paraphrased)

I love that! Alright… Also, did Taravangian recognize that Jasnah was not Soulcasting traditionally? Like was it the hand sinking into the rock that gave it away?

Brandon Sanderson (paraphrased)

Taravangian knew and already suspected.

Stormlight Three Update #6 ()
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DSC01

I'm probably too late to this party to get a question in, but just in case... The resonances for Edgedancers and Bloodmaker/Slider pairings--are they basically the same thing? It's maybe mostly linguistic for Edgedancers and more like Invested method acting for the Wayne types, but if I'm reading things correctly, it seems that they're very closely related.

After all, Progression and Bloodmaking are quite similar. Abrasion and speed bubbles have a more tenuous link, but they do call bendalloy boys "Sliders," after all (no disrespect to bendalloy girls, but I couldn't pass up the alliteration).

Brandon Sanderson

The connections are more because the magics are all inter-related, and based on fundamental rules, and less because I was trying for any specific connection.

Miscellaneous 2016 ()
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Brandon Sanderson

Warning, Evgeni. I'm really considering doing a backpedal on savants. The more i think about them, the less I'm not liking how my current course has them being treated in upcoming books. I think it deviates too far from my original vision.

Argent

Hey, I wouldn't normally contact you directly like this, but given that you thought it important enough to reach out and let me know you might change how savants work, I figured you probably wouldn't be too upset by this message. I replied to your Facebook comment, asking if you could clarify a little bit which aspects of savantism you are thinking of keeping and/or cutting. I don't need an essay on the topic (though you know I'd love one!), just some details on what we can consider canon for theories, and what we should be careful around.

Brandon Sanderson

Evgeni,

So here's the problem. The more I dig into savants in the later outlines, the more I feel that I'm in a dangerous area--in that I'm disobeying their original intention. (Which is that using the power so much that it permeates your soul can be dangerous, a kind of uncontrolled version of a spren bond.)

And so, I don't want to let myself just start making people savants right and left. It needs to be a specific thing. Wax is the troubling one, as I have him burning so much steel that he's well on his way, but isn't showing any side effects. If I'm going to give him savant-like abilities, he needs savant-like consequences.

That's the danger, just falling back on savanthood to do some of the things I want, so often that it undermines the actual point and purpose of them in the cosmere lore.

So if I backpedal, it will be to contain this and point myself the right way, sharply curtailing my desire to make people savants without their savanthood being an intrinsic part of their story and conflict in life. (Like it was for Spook, and is for Soulcasting savants on Roshar.)

Feel free to share this.

Argent

Okay, so - if you do decide to go this route, I see the story implications (larger focus on consequences, less easy to get to the point where a character can be considered a savant). What I am not sure about is the potential for a mechanical change. Would a backpedal on your side cause a conflict with information you've shared with us, in or out of your books? Are you saying that it's possible that Wax won't be considered a savant (if you can't squeeze a good ramifications plot for him that doesn't contradict the apparent lack of consequences so far, for example)?

Brandon Sanderson

I haven't decided on anything yet. It's mostly consequences for the future--just a kind of, "be aware I'm not 100% pleased with how Wax turned out, re: savanthood and Allomantic resonance."

The idea of resonance is that two powers, combined, meld kind of into one single power. This is a manifestation of the way Shards combine. Wax was intended as a savant of the two melded powers. But without consequences in his plot, I'm not confident that I'll continue in the same vein for future books.

Footnote: The first message comes from Brandon reaching out to Argent (Evgeni) on Facebook with a follow-up regarding this entry. This rest is from a Reddit PM exchange between Argent and Brandon.
Arcanum Unbounded Chicago signing ()
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Argent

Have we seen the resonances of either Wax or Wayne?

Brandon Sanderson

Yes, well, Wax is really good at sculpting bullets and things away from him.

Argent

The bubble.

Brandon Sanderson

Yeah and things like this. This is playing with the fact that he is-- Let's just say that the abilities make this happen, and I’ll let you theorize on why, but it's just an enhancement to what he can do.

Argent

I might be wrong, but I thought you said it was because he was becoming a steel savant.

Brandon Sanderson

A savant, yeah, definitely, but this is what this is coming from.

Argent

But being a savant has to do with being really good with one power--

Brandon Sanderson

Yes.

Argent

--and resonances--

Brandon Sanderson

Being a savant has to do with using Investiture a lot, and it's starting to permeate your soul. Like we've ta--

Argent

So he's more a savant with both of--

Brandon Sanderson

He's used them a lot, and they are changing his soul, and so the powers are morphing and changing. Just in slight, little ways. You're not gonna see a whole bunch. But you can imagine these two separate powers are kind of becoming one to him.

Argent

Yeah I can see that. And Wayne?

Brandon Sanderson

So Wayne's is not as obvious. I'll go ahead and RAFO that right now.

Arcanum Unbounded Chicago signing ()
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Argent

So, the Edgedancer's resonance, the Perk? I think you've called it resonance at some point, is that still accurate?

Brandon Sanderson

Yeah, that totally works. The powers affect each other in interesting ways.

Argent

Right.

Brandon Sanderson

Um, so the thing about it is, calling it a Perk, that like saying--

Argent

It's a side effect right?

Brandon Sanderson

It's less a side effect-- It's like, when the powers merge, they are always slightly different. For instance, Lightweaving from a Truthwatcher is different from-- Slightly. There will be things. So, you're gonna see that they all have access to the Surges, but in combinations, they act a little differently from one another.

Questioner

So is the Edgedancer's resonance something to do with communication? Because we see Lift--

Brandon Sanderson

Yeah, yeah we'll RAFO that.

Stormlight Three Update #4 ()
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Argent

We know that you can't Lash people in Shardplate, but can you Lash the person inside the Plate? If they had their helm off, for example. At that point Plate should be just dead weight, right? 

Brandon Sanderson

There's a bit of an interference envelope. Wearing plate, the person has this big ball of investiture around them, and so pushing any through it--even by touching a person without a helm--is going to be tough. Easier than with the helm on though, I suppose.

Investiture acts (roughly) like a saturated solution in these cases. Sticking more power into something like a Feruchemical storage or a hyper-invested object like Plate is increasingly hard. The other part is that Investiture tends to interfere with other Investiture, unless there's a familiar resonance. (This is part of what philosophers call Identity.) Slapping your hand through a sand master's stream of sand will cause interference, and make them start to drop. It's not that the sand is supporting them, it's that the investiture holding them up gets scrambled for a moment because of your own investiture.

Investiture pushed toward someone inside a hyper-invested (supersaturated) system like a person in Shardplate is going to get hard push-back.

This is similar to the reason that it's harder to Push on invested coins. Depends on how invested they are, in that case. It's generally not as hard as doing something like Lashing a person in plate. (This is more about the interference than the saturation of investiture.) But the two principles are what I use to guide the physics in these areas.

quietandproud

Can we take that as a hint that the Investiture in the Plates and the Investiture that the Surge of [Adhesion] uses come from different Shards? Or do they interfere because they "belong" to different spren?

Brandon Sanderson

You know, I should have realized this one would bring out the follow up questions. Let's leave it at what I posted for now. This is a deep, deep rabbit hole, and I do need to try to get some more writing done tonight. So...RAFO. (Sorry.)

General Reddit 2016 ()
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Yata

There is something that recently was debated by some fans and I hope you may give some clue about the "side effect of interaction between magic" as was pointed in the Twinborn and Surgebinder cases: Are those "perks" stackable? To say if I am a Fullborn like Rashek, wil I have all the possible Twinborn's perks or a specific "Fullborn's perk"? And about the same topic, a Mistborn or Full Feruchemist has his own perk/perks?

Brandon Sanderson

I've worked under the premise that if you hold too many of the powers, like a Mistborn, the result is a loss of these little quirks. The mechanics of it are interesting, but I'll leave you to theorize on that sort of thing.

General Reddit 2016 ()
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Ray745

You have stated that each Knights Radiant Order gets their own unique ability, for lack of a better word, due to the combination of their Surges. For instance, you have stated this ability for the Windrunners is strength of squires. My question - is this due to the Nahel bond, or just inherent in the Surges combining. Would a non-Radiant get these abilities from the Honorblades, or would they be out of luck due to no Nahel bond?

Brandon Sanderson

Good question! The unique abilities have more to do with the powers interacting, same as how Twinborn will often manifest some odd side effects of the powers interacting. But there are limitations. For example, Jezrien didn't actually have any squires, as none of the Heralds did.

Calamity Austin signing ()
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Questioner

So in The Stormlight Archive, they have the two Surges, and they have a third power effect, right?

Brandon Sanderson

They have kind of effects on each other, like a reverberation. Yes. I wouldn’t call it expressly a third power, I’d call it interactions.

Questioner

So, it seems like...you don’t have to confirm anything, but it seems like Kaladin is able to transfer his powers to his men following him…

Brandon Sanderson

The Windrunners are known for having lots of squires.

Questioner

That's the one I thought was really compelling. And the Skybreakers seem like they’re really good at hunting people down.

Brandon Sanderson

I’m not going to answer any of those! But good questions!

/r/books AMA 2015 ()
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Overlord Jebus

The Knights Radiants have access to two Surges each, are the two Surges completely seperate or can they be combined together? Something like maybe allowing a Lightweaver to create a solid illusion by combining their Illumination Surge and their Soulcasting?

Essentially, do each of the Orders have a special talent only they can do that isn't available to any other Order?

Brandon Sanderson

Yes, they do, but it's not always directly obvious in a straightforward way, such as your example.

Overlord Jebus

Would the lashing system be an example of this? Full lashings apppear to be mostly Adhesion and and the basic lashing seems to be mostly Gravitational, does this mean Bondsmiths will be able do full lashings and Skybreakers can use partial and basic lashings?

Brandon Sanderson

RAFO.

Firefight Seattle UBooks signing ()
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Wetlander

In addition to the two abilities given by each Surge, does a Knight Radiant Order have a third blended ability, the interaction of its two given Surges?

Brandon Sanderson

Not specifically as phrased there, but each Order has quirks that are unique to it. They are magical quirks, but it's not necessarily a blend of the powers.

Wetlander

So Shallan's Memories is kind of a...

Brandon Sanderson

Is associated with her Order, yes.

Wetlander

It's not just because she had that wonderful ability, and Pattern came along and went, "Oh, I like this one!"

Brandon Sanderson

No that is not necessarily what attracted Pattern.

General Reddit 2014 ()
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bartonar

So, I started reading Mistborn not longer after finishing [Wheel of Time]...

Why does it seem so intentional that they're a parallel? That Mistborn is set in a 4th age a cycle in either direction from Randland? Well, more the close of the 4th, beginning of the 5th, as the influence of the Dragon/HoA is ending. The Deepness is basically exactly the Dark One, what the Hero of Ages had to go through reminds me very much of Rand's tribulations, hell, his diary could have been written by Rand himself. And what did Rashek do after killing off The Hero of Ages? He became Nae'blis and quickly established unquestioned rule over the world as God-Emperor.

Even how the Deepness attacked the Hero, trying to convince him he was insane, filling him with doubt that he could possibly succeed, or rule, it totally fits how the Dark One tries to break his foes rather than simply destroy them outright.

Brandon Sanderson

Mistborn was inspired by my love of the classic fantasy stories from my youth, Wheel of Time at their forefront. The original idea was for a Shannara-esque fantasy epic where the heroes lost at the end, but I decided (for many reasons) this wouldn't be fun to read or write. The idea simmered for a year or two until I realized it would an awesome backstory for the heist story/epic fantasy mashup I'd been developing.

And so, I worked to make Rashek's story as resonate with classic fantasy epics as I could. I wanted that resonance so that I could play with the tropes of epic fantasy.

Remember, Wheel of Time was a huge influence upon me as a youth and a writer. I knew I couldn't just write ANOTHER farmboy saves the world story, as I felt those had been done (and done well.) I wanted something that had one foot in this, however, and one foot in a more contemporary style of plotting and worldbuilding.

So everything you're noticing is indeed intentional. Mistborn is my vision of a world where Rand gave in. (Or where Frodo kept the ring, etc.) I wrote the trilogy primarily in 2004-2006, ending one year before I was chosen to finish the Wheel of Time, which makes the parallels even more interesting.

Words of Radiance Chicago signing ()
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Argent

There is a person on the forums who noticed that Shallan has this awesome Memory thing going on, Jasnah seems to have a really powerful, kind of, geolocation thing going on, Kaladin is a really good fighter - are those just their traits, or is there something supernatural going on?

Brandon Sanderson

There is something supernatural going on. Each Order... Well, how about this. If you look at the scholar interpretations, there are some scholars who think that these things are not supernatural, in the past, and some who said they definitely are. But many, if you look, many Lightweavers had powerful mnemonic abilities.

Argent

So it's definitely tied to the Orders?

Brandon Sanderson

It's tied to the Orders. Now, I am not going to say that you've got them all 100% correct, but each Order, there are things that come with Order, things that do not add up from simple the "you get this power plus this power," there is something else going on. And I would say that for Windrunners, watch the number of squires and the power of the squires... is abnormal for the Windrunners.

Argent

And each Order's squires are somehow different from the other Orders'?

Brandon Sanderson

Yeeeaaaah... some Orders don't have them, [that] is the difference.

Argent

 But some have more?

Brandon Sanderson

Yeah.

Words of Radiance Philadelphia signing ()
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Questioner

*inaudible*

Brandon Sanderson

So, ideas bounced off of my editor? I needed epigraphs for Part One that increased the tension for the book. Because I was really worried that Part One was very establishing, and I wanted to ramp up the tension. And so, a lot of ideas we bounced off of him. I eventually came up with what to do, but I did a lot of talking on that.

Failing continuity? Keeping track of how many Shardblades the Alethi has, and how many Adolin had won? I just fail continuity at that completely. That's, like, math, or something! So I just let Peter tell me. I'll write, "How many do they have now?" Or, "Does this guy have one yet?" And then, once I write the book, it all goes in the wiki, and I can just look it up. But until then, I kind of need Peter. And, you know, eye color. I don't remember what people's eye color is. But it's really important to the books what color someone's eyes are! So, I fail continuity at those sorts of things. I'm really good with plot arcs and stories, but remembering what someone's eye color is, I just have to look it up. I did the same thing in the Wheel of Time. It gave them so many headaches. Where they're like, "How can you not know what somebody's uncle is?" I'm like, "I don't care what their uncle is! What's their emotional resonance?"

Words of Radiance Portland signing ()
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Swamp-Spirit

Shallan's Memory ability to capture an image doesn't seem to be working exactly like an eidetic memory...

Brandon Sanderson

Yes.

Swamp-Spirit

...because she can erase it by drawing. Is that tied directly to the magic of Lightweaving? And if so would other creative Lightweavers have similar abilities.

Brandon Sanderson

If you look at the epigraphs there is a big hint on this, where it talks about it and yes... I have problems with eidetic memory, just because scientifically most scientists say this is not a real thing. So I would say that whenever-- Because of my knowledge of the science of it understand that you would need some sort of magical enhancement to be able to do what she does.

Read.Sleep.Repeat interview ()
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Octavia

Steelheart makes you feel a few pretty intense emotions. Were there any scenes in particular that you found difficult to write, because of these intense moments?

Brandon Sanderson

One of the very first scenes I imagined for Steelheart is where the main character David is trapped and pinned down. Certain things have led him to that moment and the events that happen right after that. (I'm not giving any spoilers, but those of you who have read the book will know what I'm talking about. It happens right after the motorcycle chase.) When I'm developing a book, I often go for a walk or walk on the treadmill and listen to cool music, my eyes closed, and ask myself, "What is the emotional resonance of this book? What's it going to feel like to read it? What scenes will make that happen?" This was one of those scenes. For me, it was the most important scene of the entire novel, so getting to it was a pleasure, but it was also an emotional and powerful scene to write because I'd been planning it for so long and wanted badly for it to turn out well. That can be really difficult for a writer when you've got something in your head and you worry. Can I make it turn out on the page?

Galley Table Podcast interview ()
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Phillip Carroll

Waxillium? Why Waxillium?

Brandon Sanderson

Oh, that's a great question. The thing about Waxillium's name is, a lot of people don't like it. I actually love it, but that happens a lot in my books; I'll do something I love that I kind of know other people are going to be annoyed by. The Wax books came, actually....as I was designing the books, I was figuring the characters, and the pun Wax and Wayne struck me, and I thought, "I can't do that; that's too lame a pun." But the characters adopted those name before I could even do anything about it, and I actually tried changing the names, and it didn't work. You know how sometimes, organically, it just happens, and you're like, "I gotta go with this." And so I didn't want to actually just named them Wax and Wayne; I wanted Wax to be short for something, and it fits very well into the Mistborn universe, because all the characters tend to have nicknames that—you know, there was Clubs and Ham and Breeze in the last series—and I wanted a name that fit with that, and so Wax worked really well, but I wanted it to be short for something, and so I started looking at period names, things like William that worked and I actually ended up picking Waxillium because it also has a metallurgic sound and I figured names in this culture in the Mistborn world where metals are so important to the magic, you might have people named after metals; you might have names that sound like metals intentionally because of that resonance. At the end of the day I just really ended up liking it. It is a bizarre name.

Open The Fridge Interview ()
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Lyndsey Luther

You’re very talented at taking seemingly mundane or unusual things and creating magic systems around them, like color in Warbreaker, metals in Mistborn, and light in The Way of Kings. Can you explain how you decide what to use for a magical system in a book, and your process for building a coherent system once the initial concept has been decided?

Brandon Sanderson

First of all, I’m looking for something that fits the book that I’m writing. So for instance, in Mistborn, I was looking for powers that would enhance what thieves could do. I was also looking for something that had one foot in alchemy, in that kind of “coming-of-age magic into science” way. Alchemy is a great example because it’s a blend of science and magic… well, really, a blend of science and superstition, because the magic part doesn’t work. So something resonates there.

I’m also looking for interesting ways to ground [the magic] in our world, and using something mundane is a great way to do that. Magic is naturally fantastical, and so if I can instead use something normal, and then make it fantastical, it immediately creates a sort of… ease of understanding. Burning metals sounds so weird, but it was chosen for that same reason, because we gain a lot of our energy through metabolism. We eat something, we turn the sugars into energy, boom. So that’s actually a very natural feeling. When I started writing out some sample things, it felt surprisingly natural, that people eat metal and gain powers, even though it sounds so weird. It’s because of this kind of natural biology. So I’m looking for that.

Once I have a magic system, I look for really great limitations. Limitations really make a magic system work better. Wheel of Time is a great example. Having a magic system where you can weave all these threads is awesome. Having a magic system where you do that, and then it drives you mad, is even better. It creates plot hooks, it creates drama, it creates challenge. [That limitation] is brilliant, I think it is one of the most brilliant ever made, especially because it also changes your characters. It has a deep influence on your character arcs, so you can tie it into character.

Beyond that (and this is kind of pulling back the curtain a little bit), there is no specific defined place where someone goes mad, so you can actually stretch it out and use it when you need it. It doesn’t constrain you too much. Like if your magic system’s limitation is, “When you use this magic, you have to use the head of one of your grandparents.” (laughs) You can use that magic four times! It’s limited, but also very constrained. Going mad is not as constrained. There’s a spectrum there - you can use it when you need it. So I’m looking for cool limitations that will work that way, in ways that I can use to force the characters to be creative. A good limitation will force you to be creative, and your characters to be creative. Pushing and pulling metals is basically telekinesis, right? But by making it center of mass, you can only pull directly towards yourself or push directly away from yourself... Number one: it’s vector science. It has one foot in sciences. Number two: it feels very natural to us because this is how we manipulate force ourselves. Number three: it limits things so much that it forces creativity upon the characters. There’s that sweet spot, where they can be creative and do cool things, where it doesn’t become too limited, but it also keeps you from having too much power in the hands of the characters, so they are still being challenged. I’m looking for all that, and on top of that I want to have good sensory ways to use magic.

I don’t want to have two wizards staring at each other, and then be like “and they stared at each other very deeply! And then they stared harder!” I don’t want it all to be internal, which is where the lines for the metals came from. You see something, you push it forward. The pulses that some of the allomancers use, they’ll hear. I wanted sensory applications.

Open The Fridge Interview ()
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Lyndsey Luther

Ok, last question. It was really difficult coming up with three questions that haven’t been asked already...

Brandon Sanderson

OK... you’re not going to ask me the “what would you ask me” question?

Lyndsey Luther

Not quite...

Brandon Sanderson

OK good, because I hate that one! (laughs)

Lyndsey Luther

My question is if there’s anything that you’ve never been asked that you would like to talk about?

Brandon Sanderson

Oooooh, ok. Hm. That one is so hard! Every time people ask me something like this... What have I never been asked that people should be asking, is basically what the question is? Something that the fans have just missed... They pick up on so much, that it’s hard... I do wonder if, you know… all the magic systems [in my books] are connected and work on some basic fundamental principles, and a lot of people haven’t been asking questions about this. One thing I did get a question on today, and I’ll just talk about this one... they didn’t ask the right question, but I nudged them the right way, is understanding that tie between AonDor [the magic system from Elantris] and Allomancy [Mistborn’s magic system].

People ask about getting the power from metals and things, but that’s not actually how it works. The power’s not coming from metal. I talked a little about this before, but you are drawing power from some source, and the metal is actually just a gateway. It’s actually the molecular structure of the metal… what’s going on there, the pattern, the resonance of that metal works in the same way as an Aon does in Elantris. It filters the power. So it is just a sign of “this is what power this energy is going to be shaped into and give you.” When you understand that, Compounding [in Alloy of Law] makes much more sense.

Compounding is where you are able to kind of draw in more power than you should with Feruchemy. What’s going on there is you’re actually charging a piece of metal, and then you are burning that metal as a Feruchemical charge. What is happening is that the Feruchemical charge overwrites the Allomantic charge, and so you actually fuel Feruchemy with Allomancy, is what you are doing. Then if you just get out another piece of metal and store it in, since you’re not drawing the power from yourself, you’re cheating the system, you’re short-circuiting the system a little bit. So you can actually use the power that usually fuels Allomancy, to fuel Feruchemy, which you can then store in a metalmind, and basically build up these huge reservoirs of it. So what’s going on there is… imagine there’s like, an imprint, a wavelength, so to speak. A beat for an Allomantic thing, that when you burn a metal, it says “ok, this is what power we give.” When it’s got that charge, it changes that beat and says, “now we get this power.” And you access a set of Feruchemical power. That’s why Compounding is so powerful.

/r/fantasy AMA 2011 ()
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alanthiana

Allomancy is such a unique form of magic, in the fantasy realm of books. What was your inspiration in forming it?

Brandon Sanderson

A mix of many things inspired Allomancy. The 'feel' of a magic that was really just a new branch of physics, as I spoke about in another post. Alchemy, which is fascinating to me from the standpoint of its place on the border, is another. Real scientists believed in Alchemy, but had to sort out that it was not scientific. It was a time of great thought, and a time when science and 'magic' were mixed in what now seems like strange ways.

Dune was an inspiration (having a limited resource, though I didn't limit it nearly as much, to give an economic side to the magic.) Vector physics was a big influence, as was the fact that I wanted to write a heist story. I therefore designed powers that worked for thieves. The 'burning' of metals was chosen because it resonated with science--the basic way we gain energy is by ingesting things and breaking them down for chemical energy. I wanted something that felt like it had one foot in science, but was also very magical.

General Reddit 2011 ()
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Keoni9

Unless you are using it to describe a method of divination, X-mancy probably does not mean what you think it means. -mancy, from the Greek manteia ("divination") cannot be used to denote the magical manipulation or evocation of something. The root you are looking for is -urgy, from Greek ergon ("work").

Glory2Hypnotoad

But fantasy books get a little leeway here because it's generally understood that English is being used as a proxy for an in-world language, so Greek etymology doesn't necessarily apply.

And Brandon Sanderson's admitted that he knows what mancy means, and calling his magic system in Mistborn allomancy was simply a useful tradeoff.

Brandon Sanderson

Yes, I talk about this in the annotations, I believe.

Language shifts. I believe this one has shifted far enough inside the target demographic (fantasy readers) that it would not confuse. In fact, I decided it would be MORE clear to use the 'wrong' term than the right one.

I subscribe to a school of writing philosophy which believes that clarity trumps most other concerns, so I chose to do it this way. (Though this was a specific choice for the Mistborn world, where I was attempting to create resonance as an Earth analogue, so used more familiar sounding names for people and terms. Compare to Elantris, where I instead preferred in-world names and terms which might be harder to say/pronounce but added worldbuilding flavor.)

Warbreaker Annotations ()
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Brandon Sanderson

Life Sense as Part of the Magic

The ability of the Heightenings and Breath to give people an added dose of life sense was part of my attempts to make Awakening, as a magic system, feel more visceral and real. Allomancy is a great magic system, but I wanted a different feel here. In Allomancy, the powers granted are more like superpowers; with Awakening, I wanted something that felt . . . well, closer to what people already do.

Perfect pitch and perfect color recognition are two things that I think resonate this way; the ability to bring inanimate objects to life may seem wildly superpowerish, but I think it's a part of our own superstition and mythology—or at least the superstition and mythology of our past. Life from things inanimate, like spontaneous generation, was long assumed as something real. Witches were often thought to be able to bring sticks or bundles of cloth to life.

I think that there's still a lot of superstition in our modern world regarding how it feels to have someone watching you. We are more aware of our surroundings, sometimes, than we realize. I think we attribute a supernatural connection to some of these things. Who knows? Maybe there is one. I don't know, perhaps I've got a bit of it myself.

Enhancing this and making it part of the magic was a way to get the visceral feel I was looking for. It also plays off the idea that by giving up your Breath, you give up part of your life. The fact that Drabs can't be noticed by life sense allows me to show that they have taken one more step toward being objects themselves.

BioChroma. It turns objects into living things, but turns living things into objects as well.

Warbreaker Annotations ()
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Brandon Sanderson

Chapter Fifteen - Part One

Siri Sees the God King

I think this is my favorite plotline of the book. The Siri/God King one, I mean. It's hard to choose, but this is the one that I felt most interested in. (Though Lightsong's ending chapters are powerful too.)

I wanted the God King to be an enigma, much like Vasher is, at the beginning of the book. Well . . . that's not quite true. Right at the beginning, I wanted him to be scary and dangerous. I wanted the reader to perceive him as Siri did.

By now, however, you should be wondering more. Who is he? What are his motives? Is he angry with her or not?

The driving force behind this, actually, is the Lord Ruler. In Mistborn, a part of me always felt that he was just a little too stereotypical an evil emperor. True, I worked hard to round him out, particularly through the later books. But writing him made me want to take an evil emperor archetype in a very different direction.

I've spoken on the reversals in this book. Well, one thing I realized after the fact is that the novel is—in a lot of ways—about reversals of my own writing. Things I've done before, but taken the opposite direction. Almost like I need to react against myself and explore things in new ways, particularly in cases where (like the Lord Ruler) I did things that were more conventional to the genre.

I think that's why this book has so much resonance with my previous books. Or maybe it doesn't really, and I'm just seeing something that doesn't exist. A lot of my ideas in writing, however, come from seeing something done in a movie or a book (or even in one of my own books) and wondering if I could take it a new and different direction. I hope that doesn't make me feel like I'm repeating myself.

Grasping for the Wind Interview ()
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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.

Postmodernism in Fantasy: An Essay by Brandon Sanderson ()
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Brandon Sanderson

MY OWN WRITING

I ran into this problem full-on when I first conceived the idea for Mistborn. For those who haven’t read the series, one of the main premises is this: A young man followed the hero’s cycle from a fantasy novel, but failed at the end. The thing that made me want to write it, originally, was the thought, “What if Rand lost the Last Battle? What if Frodo had failed to destroy the ring? What if the Dark Lord won?”

A very intriguing thought. And yet, I realized early on that if I wrote the book as I was planning, I would fail. That story undermines itself. Perhaps there is someone out there who can write it in a way that engages the reader without betraying them at the end, but that person was not me. By the point I started that book, I was in the camp of those who (despite having a great love for the fantasy epics of the past) wanted to explore where fantasy could go, not where it had already been. I wasn’t interested in writing a standard hero’s journey. Jordan had done that already, and had done it well.

And so, I set Mistborn a thousand years after the hero’s failure. I made my original concept into the backstory. People have asked (a surprisingly large number of them) when I’ll write the prequel story, the story of Rashek and Alendi. My answer is to smile, shake my head, and say, “I don’t think it’s likely.” To explain why would require a lecture divided into three lengthy parts, and you know how boring that kind of thing can be.

Now, some of you may be thinking the obvious thought: “But Brandon, Mistborn is a postmodern fantasy epic.”

Indeed it is. I was intrigued by the concept of writing a postmodern fantasy, and that’s what Mistborn is. In each book, I consciously took aspects of the fantasy epic and twisted them about. My story above wasn’t to discourage that type of writing; it was to explain one major way that it could go bad, if you’re not careful.

I tried to walk a line in Mistborn. Enough archetype that I could resonate with the themes from fantasy that I wanted to play with, but enough originality to keep the readers from expecting a standard ending. It’s the type of balance that I can never walk perfectly because there is just too much variety to be had in the world. Some people are going to read the books and feel betrayed because of the things I pull; others are going to find that they’re not original enough for their taste.

The success of the books was in hitting the right balance for the right people; those like myself who love the old epics, and like some resonance with them—but who also want something new in their storytelling. That careful blend of the familiar and the strange, mixed up and served to people who have tastes like my own. That’s basically one of the only measures we authors can use. (And note, I’m not the only one—by a long shot—doing postmodern fantasy. Look to Jacqueline Carey’s series The Sundering for another example of someone doing the right blend, I feel, in a postmodern fantasy epic.)

Postmodernism in Fantasy: An Essay by Brandon Sanderson ()
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Brandon Sanderson

THIS APPLIES TO FANTASY

Before postmodern literature can start appearing in a genre (and therefore, before deconstructionists can start pointing out the irony inherent in that postmodern literature) you need to have a body of work with dominant themes and concepts. You need an audience familiar enough with those themes to recognize when they are being molded, changed, and built upon.

Fantasy (and the epic in particular) hit a postmodern stage with remarkable speed. Tolkien was so remarkably dominant, so genre-changing, that reactions to him began immediately. And, since so much of the audience was familiar with his tropes (to the point that they quickly became expected parts of the genre), it was easy to build upon his work and change it. You could also argue that the Campbellian monomyth (awareness of which was injected into the veins of pop culture by George Lucas) was so strong in sf/f that we were well prepared for our postmodern era to hit. Indeed, by the late ’70s, the first major postmodern Tolkienesque fantasy epic had already begun. (In the form of the Chronicles of Thomas Covenant, the Unbeliever.)

During my early years writing, I mixed a lot with other aspiring fantasy novelists. A great number of us had grown up reading the Tolkien- reaction books. Brooks, Eddings, Williams, Jordan. You might call us of the rising generation Tolkien’s grandchildren. (Some of you may have heard me call him, affectionately, “Grandpa Tolkien” when I talk about him, which is an affectation I think I got from a David Eddings interview I once read.) A lot of my generation of writers, then, were ready for the next stage of fantasy epics. The “new wave,” so to speak.

During those years, I read and heard a lot of talk about “taking the next step” in fantasy. Or, “making the genre our own.” It seems that everyone I talked to had their own spin on how they were going to revolutionize the genre with their brilliant twist on the fantasy epic. Unfortunately, a lot of us were a little unambitious in our twists. (“My elves are short, rather than tall!” or “I’m going to make orcs a noble warrior culture, not just a group of evil, thoughtless monsters!”) Our hearts were good; our methods were problematic. I remember growing dissatisfied with this (specifically with my own writing, which was going through some of the same not-so-original originality problems), though I couldn’t ever define quite why.

I think I have a better read on it now. It has to do with a particular explanation one writer gave when talking about his story. It went something like this: “Well, it starts out like every other ‘farmboy saves the world’ fantasy novel. You know, the plucky sidekick rogue, the gang of unlikely woodsmen who go on a quest to find the magic sword. But it’s not going to end like that. I’m going to twist it about, make it my own! At the three-quarter mark, the book becomes something else entirely, and I’ll play off all those expectations! The reader will realize it’s not just another Tolkienesque fantasy. It’s something new and original.”

There’s a problem in there. Can you spot it?

Here’s the way I see it. That book is going to disappoint almost everyone. The crowd who is searching for something more innovative will pick up the book, read the beginning, and grow bored because of how familiar the book seems. They’ll never get to the part where you’re new and original because of how strongly the book is relying upon the thing it is (supposedly) denying. And yet, the people who pick up your book and like it for its resonant, classical feel have a strong probability of growing upset with the novel when it breaks so solidly out of its mold at the end. In a way, that breaks the promise of the first three-quarters of the book.

In short, you’re either going to bore people with the bulk of the book or you’re going to make them hate your ending.

That’s a tough pill to swallow. I could be completely wrong about it; I frequently am. After all, I’ve often said that good writing defies expectations. (Or, more accurately, breaks your expectations while fulfilling them in ways you didn’t know you wanted. You have to replace what they thought they wanted with something so much more awesome that they are surprised and thrilled at the same time.) But I think that the above scenario exposes one of the big problems with postmodern literature. Just as Jewel’s music video is likely to turn off—because of the sexual imagery—people who might have agreed with its message, the above story seems likely to turn away the very people who would have appreciated it most.

Warbreaker Annotations ()
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Brandon Sanderson

Chapter Three - Part One

Similarities Between Warbreaker and Elantris

And finally, we arrive at my personal favorite character in the book. Lightsong the Bold, the god who doesn't believe in his own religion.

I had the idea for Lightsong a number of years ago. My first book, Elantris, dealt with the concept of men who were made gods. However, in that book, we never actually get to see men living as gods. The gods have lost their powers and have been locked away.

This time I wanted to tell a different story, a story about what it is like to live as a member of a pantheon of deities. Yet I didn't want them to be too powerful. Or even powerful at all.

I realize that there is some resonance here with Elantris. I hope that the concepts don't seem too much alike. What I wanted to do with this story was look at some of the same ideas in Elantris, but turn them about completely. Instead of dealing with gods who had fallen, I wanted to look at gods at the height of their political power. Instead of dealing with people who were ridiculously powerful, I wanted gods who were more about prophecy and wisdom.

I made it so that the Returned couldn't remember their old lives as a way to distinguish them from the Elantrians. However, I can't help the fact that the ideas had the same (yet opposite) seed. But I'm confident that there's plenty of room in the idea to explore it in a different direction, and I think this book comes out feeling very much its own novel.

Warbreaker Annotations ()
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Brandon Sanderson

Vasher Awakens the Straw Figure

I love how intricate and delicate Vasher is in creating the straw figure. The little eyebrow is a nice touch, and forming the creature into the shape of a person has a nice resonance with our own world's superstitions.

Voodoo dolls, for instance. This is very common in tribal magics and shamanistic rituals—something in the figure of a person, or the figure of the thing it's supposed to affect, is often seen as being more powerful or more desirable. The same is said for having a drop of blood or a tiny piece of skin, even a piece of hair.

Those two things—making the doll in the shape of a man and using a bit of his own body as a focus—are supposed to create instant resonance in the magic for those reading it. I think it works, too. Unfortunately, there's a problem with this, much like with the colors above. In later chapters, the characters are generally powerful enough with the magic that they don't have to make things in human shape or use pieces of their own body as a focus.

If I were to write a sequel to the book (and I just might—more on this later) I'd want to get back to these two aspects of the magic. Talk about them more, maybe have characters who have smaller quantities of Breath, and so need to use these tricks to make their Awakening more powerful.

Anyway, this little scene threw all kinds of problems into the book. Later on, I had to decide if I wanted to force the characters to always make things into the shape of a person before Awakening them. That proved impossible, it was too limiting on the magic and interfered with action sequences. The same was true for using bits of their own flesh as focuses. It just didn't work.

I toyed with cutting these things from the prologue. (Again, they are artifacts from the short story I wrote, back when Awakening wasn't fully developed yet.) However, I like the resonance they give, and think they add a lot of depth to the magic system.

So I made them optional. They're things that you can do to make your Awakenings require fewer Breaths. That lets me have them for resonance, but not talk about them when I don't need them. I still worry that they set up false expectations for the magic, however.

Elantris Annotations ()
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Brandon Sanderson

Chapter Forty-Six - Part One

Raoden's reaction to Iadon's death is just a little bit cliché, but I think that cliché exists for a reason, so I wrote the scene this way.

Sometimes, I have difficulty in my writing because I try to be TOO original. I react pretty strongly against anything I've seen before, and don't want to include it in my books. This has served me well in some ways–Moshe bought Elantris partially because he found it refreshingly different from other fantasies on the market. I generally have a strong element of originality to my worlds, my magic systems, and my plot structures. This is part of what draws people to my work.

However, sometimes I go too far. If I see something written one way–even if that way is good–then I react against it, trying to find another way. I've stayed away from "Eternal Apprentice" plots (Thank you Craig Shaw Gardner for the name) even though they are extremely popular in fantasy–indeed, they are what got me into fantasy when I was younger. But, because of some things like this, my books can be more difficult to get into. The extremely steep learning curve of my works, the focus on strange settings and odd magic systems, might be off-putting for some readers. (Elantris, by the way, is only a hint at these kinds of things. Mistborn is a much better example.)

I try to walk a fine balance in my works. The trick is to write something that is original and new, breaking convention and tradition–yet at the same time have it FEEL like a fantasy. People read in the genre because they like the things it can do. I have to add the new, Sanderson, spin to things without tossing out all that is wonderful and resonant within the genre.

That's why you'll see some old archetypes showing up in my works occasionally. In a way, Mistborn is an old-fashioned "overthrow the evil empire" fantasy. When choosing my next project, I decided that I had enough sufficiently new material–both in setting and in plot–to tell the story in a way that would be fresh. I think it adds something to the genre, rather than just recycling what is there. So, I went ahead with it, hoping that the familiar and the original would work together.

Elantris is similar. I threw in odd (for fantasy) plotting structures, but I let the air of "standard medieval culture" remain in the book. (In fact, as I've noted, this is probably my most like-Earth book in that way.)

The balance between the new and the familiar. That's what it's all about.

Elantris Annotations ()
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Brandon Sanderson

Aonic

In the initial stages of Elantris‘ development, Aonic was one of the more difficult elements to construct. The Aons themselves—then still unnamed—were to become a major part of the novel. I wanted all of the Aonic names—including the names of two POV characters—to include references to the language. In addition, the magic system had complex connections with the Aons, influencing their actual forms and design. Furthermore, one of the greatest puzzles in the novel—that of Elantris‘ mysterious fall—was intimately tied to the power and shape of the Aons.

I began looking for sounds and themes. Usually, when I construct a language, I try to develop something with a few basic sound patterns that are easily recognizable. When a reader runs across a name in the book, I want them to be able to instantly determine which country that name came from. However, the names can’t be too similar, otherwise they will become a jumbled mess in the reader’s mind.

So I started, as I often do, with a couple of names. The first one I devised, I believe, was Raoden. The sound “Rao” (both vowels are pronounced in their long form) struck me. One of the things I wanted from Aonic was resonance with ancient classicism. I wanted the reader to reference a culture with a great, majestic history. Golden age Greece or imperial Rome—lands were gods were very real, and were thought to interfere with the workings of mortals. To the modern mind, these cultures bear a weight of age.

Rao. (Pronounced Ray-Oh). I liked the repeated long vowel sounds—they seemed to bear the weight I wanted. From there, I constructed other morphemes. Ene. Ashe. Dio. I started combining these, constructing a language that references modern Japanese with its combination of a natural tongue and imported Chinese characters.

The result was the Aonic language. Each name or word contained an Aon—a two-syllable morpheme that contained two log vowel sounds—and a non-Aon prefix or suffix. Raoden, for instance, contains the Aon ‘Rao’ with the non-Aon suffix ‘den.’ Seon contained the Aon ‘Seo’ with the suffix ‘n.’ The accent in these words is always placed on the Aon.

Then, like any good modern language, I was forced to bend a few rules. The name of the city was very important to the book, as I intended it to be in the title. I played around with several different words, including one that stayed through the entire rough draft of the novel—a word based on the Aon ‘Ado.’

In the end, however, I grew very partial to the word ‘Elantris.’ Again, this was for connotative reasons. It brought to mind ancient cultures without actually being too similar to any names I knew. The word seemed to have mythic import. Unfortunately, it didn’t contain an Aon. In the end, I went with it anyway. Any good language has sound-changes and broken rules. Elantris, therefore, is based off of the Aon ‘Ela,’ which is a very Aonic sound. When combined with its suffix, however, the secondary vowel is weakened—though not completely. When I say the word in my head, the ‘a’ sound is stronger than it probably is to most readers.

The second bent rule references Sarene’s name. Originally, her Aon was ‘Ana,’ with two long ‘a’ sounds. Unfortunately, ana looked too similar to the word ‘anal’ to me. Eventually, I changed her from Sarana to Sarene. Still, in my head, I pronounce this word ‘Sar-Aynay,’ though the Aonic usage of the name would be more appropriately rendered ‘Sar-eenee.’

With the Aonic language finished, I could easily fill in the names of side-characters and places. I threw out a few sounds—there is no ‘u’ sound or ‘th’ sound in Aonic—and from there could construct hundreds of names from Aonic combinations of sounds. I designed a few of the characters for referencing in the book, and the language grew from there.

TWG Posts ()
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Brandon Sanderson

This is for both those of you who've read MISTBORN and those who haven't.

In the first book, you'll notice that I named two of the three magic systems present in the world. The primary name, which I'm quite satisfied with, is Allomancy.

Sazed's power is the one I'm considering changing. It is called Hemalurgy. Now, I like the way this sounds. However, it doesn't quite fit in meaning with Sazed's powers. (The Hema, which should evoke thoughts of 'blood' has rightly drawn complaints from readers.)

However, Hemalurgy DOES fit quite well with the third (mostly unmentioned magic system) used by the Steel Inquisitors.

So, I'd like to rename Sazed's magic system. Here are my thoughts.

Ferrachemy. I like the sound and construction of this one--it fits with the other two, and seems to relate well to Sazed's powers. The only problem is that I think it's too easy to read as "Ferr-Alchemy," which just doesn't feel right to me.

Ferruchemy. The word I'm drawing the 'Ferr' from anyway is Latin for iron, which is Ferrum. So, this is truer to my source, but it just doesn't sound as good to me.

Ferrichemy. I'm not sure if I like the way this one looks or not.

Ferrochemy. Perhaps where I'm leaning right now.

Anyone else have any suggestions? I like the traditional-science feel endings of things like 'mancy, 'lurgy, 'chemy. I also like beginnings that relate somehow to metals, as those are used so prevalently in the magic.

Brandon Sanderson

I just want to say thanks to everyone who has helped me with this one.

Ones I particularly liked:

Auronomy was VERY cool sounding. However, I'm worried about having two 'A' words for the magic. (Still debating this one.)

Ferramy also had me for a time. The only problem is that I really want something that has the same 'feel' as the other two magic systems.  This doesn't quite resonate right.

Sangrimancy is also very cool sounding.  The only problem is that I don't really need another 'blood' related magic system. Skar--I stored this one away for potential use in another world. 

However, I think Jade has really had the best suggestion on the thread. Dropping the second 'R' from the Ferr prefix makes it work a lot better with things. And, to avoid the 'feral' reference Stacer noticed, I think using the original Latin 'u' with the 'Fer' gets us a better word.

So, the current winner:

Feruchemy. It isn't actually the coolest sounding word on the thread--I think that's a tie between Auronomy and Sangrimancy. However, Feruchemy 'Fits' better with Allomancy and Hemalurgy. The three have a kind of internal resonance, and give the right feel.

Thanks all!

Now, another task. These three are all active arts--something done, rather than simply a study. I'd like, however, a good name for the blanket term for the study of all three magic systems. A name for the system of the world, rather than the specific magical applications of this system.

All three systems use metal in different ways, and all three draw power for the user from different places. Any clever ideas? (Initial thoughts for me include using 'ology.' However, I'm not opposed to something longer, like I used in DRAGONSTEEL. (Realmatic Theory, for those of you who haven't read it.))