Somebody asked me if there's any Lovecraftian influences in my books, because I do enjoy Lovecraft. And so I thought, "Well this would be a good interlude to read," for that reason.
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Somebody asked me if there's any Lovecraftian influences in my books, because I do enjoy Lovecraft. And so I thought, "Well this would be a good interlude to read," for that reason.
I'm really curious where the inspiration for Elantris came from. I really enjoyed that book. =)
As with all of my books, there wasn't one single inspiration, but a number of them. A few of them here were: Chinese and its writing system, and how it relates to Japanese and Korean. The difference between teaching others of your faith in order to help them, as opposed to teaching them in order to aggrandize yourself. What it would be like to live in a leper colony. A king made into a beggar. A woman who, like a friend of mine, felt she was too tall and too smart for men to find her attractive. Magical servants that didn't look like any I'd read about before. And the thought of telling a story about someone who was basically a good, normal person—without a deep, dark past or terrible hidden flaw—who got trust into the worst situation I could imagine.
I've searched this subreddit for someone mentioning Jane Elliot before, but nobody has, so I decided to share this.
I was explaining Stormlight Archives to a friend yesterday when he told me that BS must have been influenced by Jane Elliot, so I researched her and found the wikipedia article about her.
This woman was a school teacher who decided to teach her class about racism the day after Martin Luther King's death by segregating the class between light eyed and dark eyed children. It's a very interesting exercise and I love how the darkeyed vs. lighteyed issue was actually experienced for real on this earth, not just in the SA books. You can read more about the experiment on the wikipedia page or in this article.
The coolest part of this is that the 3rd time Jane Elliot did that experiment, she filmed it and it was made into a documentary in 1970 with the title : The Eye of the Storm
I think it's a pretty cool coincidence (probably influence rather than coincidence) and I thought I'd share!
The study sounds familiar to me, so I'm sure I've read it before--but I can't remember if it was like this (in reference to the SA, which I'd already started working on) or if I read about it before, and it lodged in my brain as something to try some day.
How much of your own books were you consciously looking at books like Jordan and saying, "I like that kind of world," and trying to create that kind of world in your own stuff?
I spent most of my early career, as I kind of implied earlier, reacting against books that I had really liked. The main purpose for this being that I felt that Robert Jordan and various other authors really covered that type of story and that type of world really well. And so I said, "Well, what other room is there to explore?" And so you see me reacting against.
For instance, Mistborn is a direct reaction to the Wheel of Time. Mistborn began as the question, "What if Rand were to fail?" That's what spun me into creating that entire book series: what if the prophesied hero were not able to accomplish what they were supposed to accomplish? And that became the foundation of that book series. So you can see where I was going and things like that. A lot of times I will read something, and if it's done very well I'll react against it, and if it’s done very poorly then I’ll say, "Oh, I want to try and do this the right way". And both of those are kind of an interesting style of reaction to storytelling. So I would say I was deeply influenced, but it's more in the realm of, "Hey what have they done? What have they covered really well, and where can I go to explore new ground?"
Do you purposefully take ideas from the Book of Mormon and turn them inside out, on their head, so no one knows where you got the ideas from? Like when you have Kelsier saying, in this moment, and he defeats the Lord Ruler, just in Ruler's capital city, and like how in the Book of Mormon when the La-āmanites, besieged Zaraellmə-ī, because no one else can see it coming?
So, I don't intentionally take, usually, from the Book of Mormon. There's a lot of unconscious things coming out. The only thing you can say is that I based The Way of Kings a little bit on King Benjamin's speech.
Do you get any of yours [inspiration from mythology]? Like I know you mentioned sciences and physics.
Yeah a lot of science and physics is where it's coming from. A lot of, I mean, having lived in Korea for two years, and speaking Korean, a lot of my linguistics come from Korean, and the idea of Spren comes from Asian mythology: the idea that everything has a soul. So that's an inspiration.
I want to look into ancient Asian culture, and it sound like something to do.
There's that. I would bet that the three kingdoms stuff has some influence on me, and Sun Tzu's Art of War has been an influence on me, and things like that.
Near the ending of The Emperor's Soul, I loved how the old man ends up repeating an act for which he had earlier chastised his young charge. A little O Henry touch?
It's good that you caught that. I didn't want it to be "beat you over the head" obvious, or too subtle.
What inspired you to start writing?
It was the books I was reading. I wanted to learn to do what they had done. Anne McCaffrey was a big part of it. But I was reading it, I was like, these books have had such a profound effect on me, I want to learn to do that for other people.
I've always thought in Steelheart, or in the Reckoners series, what influenced your characters like that, like was there comic books behind that?
I've read a lot of comics, so you can find--
Any specific ones that influenced you?
Watchman influenced everyone. Kingdom Come is one of first that made me really think about comics. My favorite was the old Eastman and Laird original Turtles. But I don't know if that's as much inspiration as me just enjoying it. I don't know. I like the graphic novels like the Killing Joke... that feel like a self-contained story.
I've noticed that the glyphs seemed to take inspiration from Arabic word art and calligraphy... Do you think you could talk a little more about how it inspired the making of glyphs and the art behind them? Did you draw from any other written languages (like Chinese calligraphy) when creating this system?
Good question! The biggest influence was definitely Arabic word art and calligraphy. That's something Brandon and I wanted to do from the start with the glyphs, and I realized that in order to make both glyphs and word art work, I'd have to take things a step farther and figure out the building blocks of the glyphs. I can't think of any other systems off the top of my head that I drew direct inspiration from.
The second biggest influence was the need for the glyphs to be symmetrical to reflect the holiness of symmetry within Vorin culture. I had an old iPod touch (it was new back then) and a simple symmetry app. When I found myself with a few minutes, I'd spend time sketching interesting shapes. I saved the best of these for use in The Way of Kings. Using those as a base, I started coming up with calligraphic shapes that would allow me the look I wanted, and over a bit of time, I developed a lexicon of shapes to use in the creation of glyphs. This helped keep the style mostly consistent from one glyph to another. Though there are levels of complexity in glyphs, I believe--everything from creating a glyphward for religious purposes to scrawling the shorthand version of a glyph on a map to indicate whose army is where.
Do you read YA speculative fiction? Which books or authors are your favorites in the young readers category?
I've already mentioned a bunch of my favorites, but I could go on! I'm quite fond of Westerfeld's work. I think it's quite marvelous. I've read Terry Pratchett's teen books. If you've only read his adult work, you're really missing out. He is quite good. I've also enjoyed James Dashner's and Eva Ibbotson's books.
I got into a lot of the YA classics in the late 90s, well after everyone else had been into them. Things like The Giver by Lois Lowry and Dragon's Blood by Jane Yolen. Jane Yolen has long been one of my favorite writers. There's just a lot of exciting things happening in YA, and I feel inspired by a lot of the works by those authors I've mentioned
I was wondering in which ways has the LDS religion/theology influenced your writing? I mean, aside from trying to keep your books relatively clean and accessible. For example, it seems like the oaths of the Knights Radiant have some similarity to LDS covenants.
I don't think being LDS can help but influence my writing, though I personally follow Tolkien's philosophy: I stay away from specific allegory. I just try to write the best story I can, staying true to what the characters believe (or don't believe.)
So while I don't doubt that people can find parallels, I leave that for readers to theorize about. Most are not intentional, but that doesn't mean they aren't real.
Are there any specific ways you feel like it has shaped your writing in a more general sense? An obvious example, I expect, is the general avoidance of explicit language and sexual content. (something I, for one, appreciate) Does anything else like that come to mind?
Of course I mean that in a roundabout way. It would be rather strong to say that Mormonism directly affects the writing you produce. I'm sure you don't write explicit sex scenes because you are not comfortable with it (or whatever) rather than because the church says not to. But certainly it has shaped who you are, and you shape the stories. So I assume it's possible to trace a few lines from one end to the other.
You're right; I think these things are possible to trace--and the example you give is a good one. I've described the lack of sex scenes in my books the same way you just did.
I'd say that certainly, the sense of hope in my books is shaped by my faith. I didn't do it intentionally, but if you look at Mistborn, you find lots of quotes about faith in the face of trials--which is a very religious way of looking at the world. Some of my more secular friends might point out a fallacy in this thinking; they'd say that while determination is an important human emotion, doubling down on something just because you want to believe is the opposite of being self-reflective.
My belief in what makes someone heroic, or a good leader, is probably also very directly influenced by my upbringing and belief.
So, Brandon, you just introduced a really amazing female character [Spensa] to us. Your female characters throughout all your books are resourceful and independent. Some of them are leaders, some of them go through very interesting journeys of growth and self-discovery. Some of your female characters, like Vin and Sarene, they have mentors and teachers who are men, but their decisions about who to be and what to do are always their own. They always have agency. Was it a conscious choice to write these female characters and their journeys like this, and can you tell us if the process was easy or difficult?
So, there are a number of different responses to this. One is, I came into fantasy by way of some excellent female novelists that I highly recommend. Barbara Hambly was my first experience with fantasy, and then Anne McCaffery, Melanie Rawn, and Jane Yolen were kind of my introduction to fantasy. It's how I got pulled into it-- To the point that when I was first given a David Eddings book, I was hesitant, because I was like, "Is this a genre guys can write?" was my honest reaction to that. So, when I started writing my own books, I knew I wanted to do a good job with this, but I was really bad at it at the start. It was very embarrassing to me as a writer. And this happens to all new writers. There are things that you want do that, in your head, you imagine yourself doing very well, and then when you start out, you just do poorly. And the later in life that you start writing your stories, the more you're generally able to recognize how poorly you're doing things that you want to do well. And my very first book, that I didn't publish, particularly the female lead was very generic, and written very much to fill the role of the love interest rather than to be a character. And I recognized it, even as I was writing it, but I didn't know how to do it differently. And it took practice. It took a lot of work. It really shouldn't, on one hand, right? Write the characters as people. rather than as roles. That's what you have to learn is: everybody is the hero of their own story in their head. They're the protagonist, whoever they are. And writing the characters so that they view themselves that way, and so they have autonomy, and they aren't being shoved around by the plot or by the protagonist, or things like this, but it's just very hard to do. I had a lot of early readers who were very helpful. I often credit my friend Annie as being one of the big reasons why Sarene eventually ended up working in Elantris. And she gave me some early reads, and things like this.
But, you know, it is hard to abandon our own preconceptions that we don't even know are there without practice, effort, and somebody pointing them out to you. And it was just a matter of practice and trying to get better. And I still think that there are lots of times I get it wrong. And you mentioned Mistborn. And I was really determined that I was going to do a good female protagonist. I try to stay away from the kind of cliched term "strong female character." Because we don't talk about "strong male characters." We talk about characters who are distinctive, interesting, flawed, and real people. And I was determined to do this with Vin. And I feel like I did a pretty good job. But, of course, I had a completely different blind side in that I defaulted to making the rest of the crew that Vin interacts with all guys. This is because my story archetype for Mistborn was the heist novel, the heist story, and my favorite heist movies are Ocean's Eleven and Sneakers and The Sting, and these are great stories. I absolutely love them. But they all are almost exclusively male casts. And that's not to say that, you know, someone can't write an all-male cast if they want to. But it wasn't like I had sat down and said, "I'm intentionally going to write an all-male cast." I just defaulted to making the rest of the cast male because that was the archetype that was in my head, that I hadn't examined. And so, when I got done with those books, I looked back, and I'm like, "Wouldn't this have been a better and more interesting story if there had been more women in the cast?" And I absolutely think it would have been. But becoming a writer, becoming an artist, is a long process of learning what you do well, what you do poorly, what you've done well once and want to learn how to replicate, what you've done poorly and want to learn to get better at. It's a very long process, I think, becoming the writer that we want to be.
Is Kaladin's name influenced by Dune?
I've read Dune many times, so maybe? It's more looking at-- A lot of Dune names are Arabic inspired, and I went to that region for a lot of the names. But I think the word "Paladin" was probably more in the back of my head. I didn't even think of it until I started writing it, and I'm like, "Oh I bet that's where I got it." But it's often kind of based off of like, Khalid, or things like that? Like a lot of the Arabic names go Khalid.
I was actually just thinking that the other day how the Knights are a lot like paladins.
It wasn't like, "I'll come up with the word." But after I started writing I'm like, "Oh I bet that's why the name felt right to me". But you can't separate an author from their influences, and I've read Dune like 5 times.
Brotherhood (or siblinghood) seems to be an important relationship theme in Stormlight (Kaladin and Tien, Dalinar and Gavilar, Adolin and Renarin, Shallan and her many brothers, Jasnah and Elhokar - although we haven't seen much of these two together) and perhaps in other Cosmere books too (Vin and Reen, Marsh and Kelsier, Eventeo and Kiin). I was wondering where this theme came from - do you have siblings yourself? Are there other relationships in your life you've used to inspire relationships in your books?
I have three siblings, and my relationship with them is important to me. I also think that books sometimes ignore family, in the name of making a character feel more isolated. While I have used that on occasion, I don't want it to be the norm. I find family too interesting, and important to most real people, to do otherwise.
I know you went on mission in Korea, as did I, did anything come from that?
Yeah, quite a number of things have been influenced by it. I'd say the biggest influence is Elantris, the writing system is based on the idea of Korean and Chinese mixed together. But Asian philosophy, like the kami and things like that are also common in Korea, that belief that everything has a soul. So yeah it's had a huge influence on me, just the way I worldbuild-- I mean just the fact, I don't know if you've read The Way of Kings… I don't know if you know but everyone's Asian, right? Like Szeth, the white dude, is the one that looks weird them. And that's just because-- It was partially influenced by that.
Rand/Dark One confrontation through The Wheel of Time series...was it some kind of inspiration for Dalinar/Odium confrontation from your own series?
It's very heard to separate out what in my series is WoT influenced--since all of it is influenced deeply by reading the WoT when younger. So I'd say it most certainly was.
In terms of books that you wish you could have written yourself?
I read a lot of things for pleasure. I think I need to stay up on what everyone else is doing. As a teen, my favorite writers were Anne McCaffrey, Melanie Rawn, Barbara Hambly, Robert Jordan, Tad Williams, it would probably be. David Eddings too. I grew out of David Eddings, happens when you get into your twenties, but during my teens he was the bomb. Do kids still say that, the bomb? I'll have to figure out what they're saying now. Nowadays I read Pat Rothfuss, I really like Pat, I really really like Naomi Novik's Uprooted, if you guys didn't read that this summer it's a fantastic novel. I like Brent Weeks' work a lot, Brian McClellan's, Nora Jemisin, you guys read NK Jemisin? She writes very literary fantasy; if you're an English major and you like that kind of stuff, which I do, it's amazing. Her most recent one has a character who writes in the second person, and it works. It's the first time I ever read a book where the second person, which is you do this, you do that, it actually works, it works really well. The second person past tense, so you did this, you did-- it's a person telling themselves a story so it actually, it really works. The Fifth Season. So, yeah, I read a lot of stuff.
Vivenna Finds an Alley to Sleep In
One of the big stories I'm worried about channeling here is Les Misérables. It's one of my favorite stories of all time, so sometimes it's difficult not to find myself drawing upon Hugo's story and characters. That constant fight to keep myself from leaning too much on what has come before went into overdrive in these chapters.
In the end, however, I think that Vivenna's scenes belong here and accent the story. So yes, if you noticed them, there are some echoes of Fantine in these sections—Vivenna selling her hair and noticing the prostitutes most prominent among them. These two items, most of all, I considered cutting. But in the end, I decided that if there was anyone I was proud to have influencing my writing, it was Hugo, and I left the references. Partially as an homage, I guess—though that's always the excuse of someone who ends up echoing a great story of the past.
Do you see Robert Jordan’s characters coming out in your writing?
No. That may happen unconsciously, but my goal is not to have that happen, because I want to tell different stories. It would be like if Kelsier started coming out in Dalinar. It's just not something we want to have happen as a writer. We want everyone to be their own individual.
What you do with religions in your world, in your stories more generally. *audio obscured* Tokien, he says his books are fundamentally Catholic works, but he never mentions religion explicitly. It kind of just breathes religious air, is the way I describe it. So like you address religion in your books with the characters, sometimes positively sometimes negatively. How do you deal with that in your world and in your books, like with the air that they breathe kind of, to steal the metaphor?
Yeah I just-- The characters are everything to the books. What they are passionate about becomes what the book is about. For me my job in writing is to explore different sides of issues through the eyes of different people. That said, who I am shapes what I am interested in and what ends up in the books. I think at the end of the day I think you could call my books fundamentally Mormon books, in the way that Tolkien's were fundamentally Catholic, because I can't separate myself from my religion. I am trying to explore the world through the eyes of people who see the world differently from the way I see it.
So you would say you're-- Through your characters-- It comes out through how different people would approach it.
That's my goal.
So how then, does Mormonism affect, like you said-- In what way would you say your books are fundamentally Mormon?
Well if the philosopher in me steps aside, and the writer in me just wrote what the writer is passionate about. If the trained English major says-- One of the biggest fundamental tenets of Mormonism is deification of normal people, right? Mormonism believes that we are gods in embryo and we are here to learn and have experience so we will be better in the afterlife, and growing and we'll eventually-- Joseph Smith taught "What Man is God once Was, and what God is Man may Become" maybe not "will be" but "may become" That's what he said. And so if you look at my books there's a whole bunch of deification going on, right? That's like fundamental to the cosmere is "What do people do with the power of the gods when they're given it?" And I would say that's totally my upbringing that made me fascinated about that. Does that make sense?
Yeah, I never thought about that. Fantasy really lends itself to that.
Yes, it does. But I mean deification of a normal person is a very Christian tenet also, it's just one person did it, and it was a person who was God before, but it is still part of that whole thing which is part of why I think Christianity and Fantasy ended up kind of hand in hand.
So I was reading the Wheel of Time and in the first one when they get to the saidin and saidar, the pools—they're very similar to Shardpools.
Yes, and that is something that he kind of dropped. The Eye of the World is just like pure saidin, and I would be surprised if that weren't an unconscious influence on me. I didn't think of it when I was coming up with these but that's definitely way back in my brain when I was creating these.
Yalb the Sailor
This chapter is Yalb's time to shine. One of the things I love about The Wheel of Time is Robert Jordan's use of side characters who sometimes pop in, steal the show, then vanish. I love how they show up now and then in the text.
I'm not sure I can do the same thing here. Robert Jordan had worldbuilding reasons why small characters would get tied to the main characters and keep appearing in their lives again and again. I don't have those reasons.
Still, writing Yalb, I wanted him to really pop off the page even though he's only in the book for a few pages in these early scenes. I intend for him to return. In another type of story, he'd be one of the main characters.
Stories are one of the most powerful ways of bringing about change. In your opinion, how can authors strike a balance in their storytelling between raising awareness about things like violence against women, while telling an engaging story, without being pedantic or preachy?
Do you think it's important for influential authors such as yourself, who are read all over the world, to make a conscious effort to include characters in your stories that show reinforcements of respecting women as people and as human beings?
Definitely a big "yes" to your last one.
This is a big issue, and I'm glad you asked it, because it's something I've thought about quite a bit. At its core, it comes down to, "How do you write a story that explores difficult questions without preaching." Because, at the end of the day, we're picking up an epic fantasy book because we want to go to a new world, enjoy this new world, and have an interesting adventure. And we're not picking up it up because they want Brandon Sanderson to lecture them. And certainly, there are authors I do read to be lectured. So it's not a blanket statement, "This is how someone should do something."
But for me, there's a couple of core tenets. One is the one I've already mentioned. Which is, if I'm going to put a character in (which I think I should put a wide variety of characters in) approaching questions from different directions, make sure that I am researching that person's viewpoint, people who have that viewpoint in the real world, and make sure I'm doing the job that they would want me to do with their position, their subculture, their belief structure, and things like this.
But that kind of plays into another big... pillar of what I think my duty as a writer to do, which I've expressed it in the books, I've gotten it through things I've heard other authors write. Which is "Raise questions. Don't give answers." I believe that if you are raising questions, and having multiple people who are all sympathetic disagreeing on this question, or struggling with this question in different ways, it innately makes the reader start to say, "Well, what do I think about that? And is it something that I need to think about more?" And not dodging these topics, but also not coming down with long sermons about them, I think, is the way that I want to be able to approach them.
I often share this story, so I apologize if some of you heard it before. But the book that got me into science fiction and fantasy was Dragonsbane, by Barbara Hambly. And Dragonsbane, by Barbara Hambly, is criminally under-read in the science fiction/fantasy community. I have read it again as an adult, it holds up, it is a fantastic novel. What made Dragonsbane work for me? I was a fourteen-year-old boy who was handed this novel by his English teacher, and she said, "I think you are reading below your level. I think you would like something a little more challenging. Why don't you try one of these books on my shelf." And that's the one that I ended up picking up. This book should not have worked for a fourteen-year-old boy, if you read the Cliffnotes on how to get a reluctant reader to read books.
Dragonsbane, if you haven't read it, is about a middle-aged woman who is having a crisis as she tries to balance having a family and learning her magic. Her teacher has told her she can be way better at the magic if she would dedicate more time to it, but her family takes a lot of her time. And this is her main character conflict through the story. Now, it also involves going and slaying a dragon, and things like this. And it's a wild adventure with some excellent worldbuilding, and a really interesting premise. The story is about having to kill a dragon, her partner has been asked to slay a dragon, he's the only person who's ever slayed a dragon, but he killed a dragon when he was in his 20's, and now he's middle-aged, and he's like, "I can't do that like I used to anymore." And together, they go down and try to figure out how to kill a dragon when you're an old person. But this story should, on paper, not have worked for me, but it was the most amazing thing I'd ever read in my life.
Meanwhile, my mother graduated first in her class in accounting in a year where she was the only woman in most of her accounting classes. She had been offered, as she graduated, a prestigious scholarship to go become a CPA. And she actually turned that down because of me. She was having me as a child, and she decided that she would put off her education and career for a few years. She is now the head accountant for the city of Idaho Falls power plant, so she did go back to her career, but she put that off for me. Now, as... a middle school kid, if you told me the story, I'd be like, "Of course she did. I'm awesome. I'm me. Of course she would do that. That's the right thing to do." I read this book, and I'm like, "Oh, ditch your kids, woman. You could be a wizard!" I got done with this book, and I realized: I just read a fantasy book about slaying a dragon. High fantasy, all the stuff that should have just been brain popcorn. And yet, I got done with this book, and I understood my mother better. And it hit me like a ton of bricks, that a story could teach me about my mom in some ways better than living with her for fourteen years, because I was a stupid kid who wouldn't listen, and assumed he had the answers. But when I saw through someone else's eyes, who was very different from myself, that changed the way I saw the world.
This is why stories are important. This is why it is important-- if you're writers out there, it's why your stories are important. When you ask, "Well, what can I write that's new?" You can write who you are. And that will be new. And that is valuable in and of itself. Those stories have value because you're telling them. And this is what stories do. And this is how, I think, I want to be approaching telling stories. I want people to read the stories, and I don't want them to feel lectured to. But I want them to see the world through the eyes of someone who sees it in a very different way. Maybe that'll make them, make you, make all of us think a little harder about some of the things in our lives.
Keeping it on Scadrial, the ranks within the Set are obviously inspired by either mathematics, or programming, or logic, or a related field. Can you talk about this motivation (either yours or the Set's) for this?
My motivation ties directly to the same reasons that we see mathematics playing out in behind-the-scenes ways on Roshar. This plays into the themes of the cosmere, the rule-based magic, and the fascination I have of the ties between art and mathematics. (See the Rithmatist, which was originally a cosmere novel.)
The Set's in-world reasonings are similar to this, though less self-aware.
Were you ever influenced by the Silmarillion?
Excellent question. I didn't read Tolkien until late. I tried Tolkien when I was young, and I bounced off of it because I was not a really good reader at the time. And I didn't read Tolkien 'til college. I didn't read the Silmarillion 'til grad school. So, while I would say "Yes," I am not as Tolkien-influenced as a lot of writers are. I'm more influenced by the writers who were influenced by Tolkien. Like Robert Jordan, and people like this, who were very Tolkien-influenced. And I read them growing up. And Tolkien, I was finally able to read and really get an appreciation for, but it was later in my life.
Fourth - Outside of books, what influences his writing?
1. People he knows (Sarene is based on a friend, etc; also includes character conflicts)
2. Cinema, especially when it does something poorly and he wants to do it better
3. video games may be an influence, unsure.
Was all of your work on Firefight, is that based on the Butterfly effect?
It is a little bit, definitely.
Priests as Scapegoats
I do think that someone being a different religion from yourself makes them a good scapegoat. We tend to be put off by anyone who is too devout toward religion, even if their passion for it mimics our own passion for something we are dedicated to. It's easy to divide ourselves along religious lines.
Once again, I think I need to mention that I didn't write this comment (or the ones about not judging) into the book as an intentional message. It just seemed appropriate for the characters to say or consider, and I happen to agree with them. What I think is important influences the book. How can it help but do otherwise?
Potential historical basis for the Vorin separation of men's and women's food. https://en.wikipedia.org/wiki/Luau
I was aware of this during Stormlight worldbuilding, and so it certainly had an influence.
Brandon, how do you feel your identity and upbringing as a Mormon has affected your work?
Elantris, for instance, centers around a magic system that has essentially been broken because something in the world has changed—a "new revelation" if you will. And then Mistborn has at its core a set of holy writings that have been altered by an evil force.
These things seem decidely Mormon to me, or at least informed from a Mormon perspective. Do you feel that is the case?
I don't set out to put anything specifically Mormon into my books, but who I am definitely influences what I write and how I write it. I'm always curious at the things people dig out of my writing—neither of the two points you mention above are things that I was conscious of, though they certainly do make interesting points now that you look at them.
My goal in storytelling is first and foremost to be true to the characters—their passions, beliefs, and goals. No matter what those are. I'm not trying to make a point consciously ever in my writing—though I do think that good stories should raise questions and make readers think.
Who I am as a person heavily influences what I write, and I draw from everything I can find—whether it be LDS, Buddhist, Islamic, or Atheist. It's all jumbled up there in that head of mine, and comes out in different characters who are seeking different things.
In other words, I'm not setting out to be like C.S. Lewis and write parables of belief. I'm trying more what Tolkien did (not, of course, meaning to compare myself favorably with the master) in that I tell story and setting first, and let theme and meaning take care of itself.
Fiction doesn't really exist—certainly doesn't have power—until it is read. You create the story in your head when you read it, and so your interpretations (and your pronunciations on the names) are completely valid in your telling of the story. The things you come up with may be things I noticed and did intentionally, they may be subconscious additions on my part, or they may simply be a result of your interaction with the text. But all three are valid.
On a different but related note, I really love that you honestly look at religious convictions in your books and that you don't portray such convictions in a shallow way.
Regardless of a person's beliefs, I think they would have to admit that religion and spirituality has played a large part in our development as a people. It's a very important thing to so many of us—and I also think that for most of us, our beliefs are nowhere near as simple as they seem when viewed from the outside. I appreciate your praise here, though I think I still have a lot to learn. There's a real line to walk in expressing a character's religious views without letting them sound preachy—the goal is to make the character real, but not bore the reader.
I've been dying to ask you this question, especially ever since I've read Way of Kings, it's been growing on me. How much of your work has been influenced by Terry Warner? Bonds That Make Us Free?
I haven't read any of him.
Sabriel was his inspiration for unique rule based magic systems.
Did serving your mission in Korea help you in, like, worldbuilding? Kind of give you-- get you out of your own mindset?
Getting out of an-- into another culture is the number one thing for helping me world build. And I still-- the linguistics of things I create are often influenced by Korea.
When you finished writing A Memory of Light you posted on Facebook a beautiful piece of music *inaudible* and I was wondering, do you listen to music often when you write, and how does music influence--
I do listen to music. I almost always am listening to music when I write, and I really like things like Pandora or the discover weekly playlist on Spotify, or things like this. Any time I can get something seeded with some unusual different disparate elements and discover some new music, that'll be good for me. A lot of soundtracks, Pink Floyd, a lot of Pink Floyd, <Tangerine Dream?>, stuff like electronica, like that works really well for me. What else, Daft Punk would be in that group as well. So, it's a mix between piano music, electronica and soundtracks, what you're going to see me writing to most of the time.
For this story, with Dalinar hiring the guy who shot at him with an arrow, was that at all based on Genghis Khan?
It was, that's where I got it. [...] I used to, when I first published <The Way of Kings?>, "You guys recognize this" and no one did, so I stopped talking about it. He was famous for not only that *incomprehensible*, but for recruiting people from every battlefield he went to. The better soldier you were, the more he wanted you in his army.
We know that 10 is an odd number in the cosmere. And I noticed that the Lord Ruler specifically released 10 Allomantic metals. Was there a reason behind that or is that just a coincidence?
No, that was a coincidence right there. Ten is an odd cosmere number for Roshar, and there are reasons why this is. . .
Well it wasn't just Roshar, it was also Nalthis in Warbreaker.
Nope, that one is a coincidence. Sometimes they just pop up that way. Part of the original reason that Roshar was 10 was I was going for a 10 day like Robert Jordan did, which I thought was cool. But then I ended up writing the Wheel of Time so I'm like 'I have to do something different now'. So it turned into the two five-day weeks. Two five-days becoming a 50 day month.
Do you read non-fiction at all? I'm history grad student. I'm reading some of your stuff. I was kind of wonder if you ever did get inspiration from history or things like that?
Yes I do like them. I really like pop history books. *inaudible* suggestion. Just like you know, history of war, history of. . . Honestly, I end up at the Barnes and Noble browsing their discount things for pop history and pop science books, and you find really interesting ones there a lot of the time.
You have a couple of fantastic running jokes, such as the High Imperial.
How do you think of those things and when do you decide to commit to a great joke like that?
When do I decide to commit to a running joke. See Spook doesn't consider that a joke, he thinks it's awesome. So with this, I love-- I'm kind of going to expand this to not just jokes-- Which, definitely-- It's the sort of insider things. I love, in series that i have read a lot of books on, when there is something you will only get if you have been invested in the series. I love this stuff. It is part of the seed of the Cosmere, this idea that if people are reading my books they will start to see and make these connections. It's important to me that it never becomes the forefront, at least until I'm very clear to people that this is-- now you have to have the background of all of the books. That hasn't happened. There will be series that I do that with but I want you to be able to read Stormlight and not feel like you have to know a thousand pages of the wiki behind-the-scenes stuff before you can appreciate it. But I do like these inside references and things like that, and so it comes very natural to me. Some of it's planned out, some of it is something that I think of as I'm working on the story. Some of it's seeded, some of it just works. So you do it as it works. I wouldn't say that I-- With like High Imperial. High Imperial I knew about the time when I decided Spook was going to be a larger character in the series. But if you know Mistborn, my original-- I wrote the first book, did a quick outline of the second two, and then wrote the second two and Spook was the big discovery written surprise. He wasn't intended to be the main character that he became in the later books. And so once he-- I was writing the third book, I'm like "Oh, I know what's going to happen here. I know where this is going." And High Imperial grew out of that.
You should notice the comments about unity popping up in religious scenes throughout the book. Omin spoke of it before, and Hrathen often thinks–or mentions–the concept. When designing the religions of this book, I really wanted them to feel authentic. If you look at our own world, one thing is obvious (I think) about the way major religions work. They always fragmented–different sects of the same teachings often rise up and squabble with each other. Judaism, Islam, and Christianity share obvious links. In a similar way, Hinduism, Buddhism, and other eastern religions share some common roots.
So, in designing the Korathi and Derethi churches, I decided to give them a common ancestor–Shu-Keseg. All three religions came from the teachings of a single Jindoeese man. (You might note that the word "Shu," as used in connection with Shu-Korath and Shu-Dereth, doesn't seem to fit the linguistic styles of Aonic or Fjordell. This is an intentional reference to the Jindoeese commonality of their origin.)
The central tenet of Keseg's teachings was unity, and his followers began to squabble about what he meant by "Unity." Hence we have the loving, inclusive Korathi; the aggressive, expansionist Derethi; and the contemplative, didactic Jindoeese.
Of course, Jesker and the Mysteries are a completely different religious line. We'll get more into them later. . . .
Just finished a trip to Zion and Bryce National Parks; did those parks and the surrounding area influence the Shattered Plains? Really felt like I should be looking for gemstones and watching out for chasmfiends while cayoneering.
Yes, they were a big influence. In college, one of my roommates (Micah Demoux, for whom I named Captain Demoux) was a photographer, and he took me on many nature photography trips in southern Utah. Roshar is a direct outgrowth of this.
Lightsong Listens to the Priests Discuss War
Is this an antiwar novel? I'm not sure, honestly. I didn't sit down to write one, certainly. I rarely try to interject messages into my books, though sometimes they worm their way in. (The Alcatraz books are particularly bad about this.)
A war here would be a bad thing. Idris and Hallandren shouldn't be involved in trying to kill one another. But am I, myself, antiwar? Again, I don't know how to answer that.
Is anyone prowar? War is a terrible, terrible thing. Sometimes it's necessary, but that doesn't make it any less terrible. I'm no great political thinker. In fact, being a novelist has made me very bad at talking about political topics. Because I spend so much time in the heads of so many different characters, I often find myself sympathizing with wildly different philosophies. I like to be able to see how a person thinks and why they believe as they do.
I didn't mean this to be a book about the Iraq war—not at all. But war is what a lot of people are talking about, and I think it's wise to be cautionary. War should never be entered into lightly. If you ask me if the Iraq war was a good idea, you'll probably find me on both sides of the argument. (Though I certainly don't like a lot of aspects about it, particularly how we entered it.)
Regardless, this isn't a book about anything specific. It's a story, a story told about characters. It's about what they feel, what they think, and how their world changes who they are.
As a very, very wise man once said, "I don't mind if my books raise questions. In fact, I like it. But I never want to give you the answers. Those are yours to decide." —Robert Jordan. (FYI, that's not quoted exactly. I can't even quote myself exactly, let alone other people.)
I was wondering in what books, particularly Mistborn, is the conscious decision when you put in little snippets of LDS lore in there, like plates, metal plates--
You know most of it is unconscious. Once in a while something intentional slips in that I’m like "Ooh that's a cool connection". A lot of it is unconscious.
A lot of the magical methods you create in your novels carry with it the birth of nobility.
And that reminds me a lot of the magic martial arts *audio unclear* Aside from the big influence of Dragonsbane and other novels on your fantasy novels have you drawn any other inspirations--
--spiritually from Asian, Korean or Chinese *audio obscured*
Yes. The question is, have I drawn any inspirations from Eastern literature. Specifically he asked for Chinese, Japanese, and Korean. *speaks Korean* I lived in Korea for two years and I speak Korean. Mormon missionary, right? So I speak Korean, I actually do have a Korean minor. And even before that, Hong Kong kung-fu movies. OH YEAH. *laughter* I love Hong Kong movies particularly-- You know the modern stuff is really beautiful, like Crouching Tiger, Hidden Dragon or Hero or House of Flying Daggers and stuff like that, but even the old stuff, it's a little bit silly. Yeah, I just ate that stuff up. Jackie Chan. You can't go wrong with Jackie Chan, right? But even the stuff that's just a little ridiculous I love. It's just-- It's cool. There's something about it. So there's that. You're also going to find echoes of RPGs I've played, obviously. I mean I've worked hard because I don't want my books to feel like a video game. But I grew up playing video games, right? That's one of my major influences. Steelheart's going to feel like a comic book, right? And some of my books are going to feel like that. It's a part of who I am, it's part of my geek upbringing, right? So yeah, definitely. There's a lot of-- now that I have become a writer through my twenties there's a lot of different influences. The Alethi are based slightly on the Mongolians specifically-- But there's no horses, which let's me divorce it a little bit. People always expect Mongolians to be a nomadic horse people but you just don't have enough horses. If you guys have studied Subutai, if you know him, a Mongolian general, I based Dalinar a little bit on Subutai. But then you are mixing in Hebrew influences and Arab influences. That's kind of my mash-up that's creating the Alethi. And so yeah,you are going to find all kinds of weird things. Art of War is of course a big influence on how I approach warfare and things. So yes, yes, it's there.
You write such wonderful, believable female heroines, who are your role models and influences?
Writing believable female heroines—I should probably back up and point out that I wasn't always good at this. In fact, in the first few books I wrote before ELANTRIS I was terrible at it. That disconcerted me because it was something I wanted to make a strength in my writing. This is partially due to the fact that so many of my favorite fantasy novels growing up, when I first discovered fantasy, were from female writers with really strong female protagonists. So there was a piece of my mind that said having strong female protagonists is a big part of fantasy. I don't know how common that viewpoint is, but because those were the people whose books I read—writers like Anne McCaffrey, Melanie Rawn, and Barbara Hambly—I wanted to be able to do that in my own fiction. Even beyond that you want every character you write to be believable, and it's been a habitual problem of men writing women and women writing men that we just can't quite get it right, so I knew it was going to be something I'd have to work hard at.
I took inspiration from women I know, starting with my mother, who graduated top of her class in accounting in an era where she was the only woman in her accounting program. She has always been a strong influence on me. I also have two younger sisters who were a lot of help, but there were several friends in particular who gave me direct assistance. Annie Gorringe (who was a good friend when I was an undergraduate—and still is) and Janci Patterson were people I sat down to interview and talk to in my quest to be able to write female characters who didn't suck. I would say specifically that Sarene from ELANTRIS has a lot of Annie in her, and Vin from MISTBORN has a lot of Janci in her. In WARBREAKER, Siri and Vivenna don't really have specific influences but are the result of so much time working at writing female characters that it's something I'm now comfortable with. (Their personalities arose out of what I wanted to do with their story, which was my take on the classic tale of sisters whose roles get reversed.) It's very gratifying to hear that readers like my female characters and that the time I spent learning to write them has paid off.
The Origins of Siri and Vivenna
Back around the year 2000 or 2001 I started writing a book called Mythwalker. It was an epic fantasy novel, an attempt to go back to basics in the genre. I'd tried several genre-busting epics (one of which was Elantris) that focused on heroes who weren't quite the standards of the genre. I avoided peasant boys, questing knights, or mysterious wizards. Instead I wrote books about a man thrown into a leper colony, or an evil missionary, or things like that.
I didn't sell any of those books. (At least, not at first.) I was feeling discouraged, so I decided to write a book about a more standard fantasy character. A peasant boy who couldn't do anything right, and who got caught up in something larger than himself and inherited an extremely powerful magic.
It was boring.
I just couldn't write it. I ended up stopping about halfway through—it's the only book of mine that I never finished writing. It sits on my hard drive, not even spellchecked, I think, half finished like a skyscraper whose builder ran out of funds.
One of the great things about Mythwalker, however, was one of the subplots—about a pair of cousins named Siri and Vivenna. They switched places because of a mix-up, and the wrong one ended up marrying the emperor.
My alpha readers really connected with this storyline. After I abandoned the project, I thought about what was successful about that aspect of the novel. In the end, I decided it was just the characters. They worked. This is odd because, in a way, they were archetypes themselves.
The story of the two princesses, along with the peasant/royalty swap, is an age-old fairy tale archetype. This is where I'd drawn the inspiration from for these two cousins. One wasn't trained in the way of the nobility; she was a distant cousin and poor by comparison. The other was heir to her house and very important. I guess the idea of forcing them to switch places struck some very distinct chords in my readers.
Eventually, I decided that I wanted to tell their story, and they became the focus of a budding book in my mind. I made them sisters and got rid of the "accidental switch" plotline. (Originally, one had been sent by mistake, but they looked enough alike that nobody noticed. Siri kept quiet about it for reasons I can't quite remember.) I took a few steps away from the fairy tale origins, but tried to preserve the aspects of their characters and identities that had worked so well with readers.
I'm not sure why using one archetype worked and the other didn't. Maybe it was because the peasant boy story is so overtold in fantasy, and I just didn't feel I could bring anything new to it. (At least not in that novel.) The two princesses concept isn't used nearly as often. Or maybe it was just that with Siri and Vivenna I did what you're supposed to—no matter what your inspiration, if you make the characters live and breathe, they will come alive on the page for the reader. Harry Potter is a very basic fantasy archetype—even a cliché—but those books are wonderful.
You have to do new things. I think that fantasy needs a lot more originality. However, not every aspect of the story needs to be completely new. Blend the familiar and the strange—the new and the archetypal. Sometimes it's best to rely on the work that has come before. Sometimes you need to cast it aside.
I guess one of the big tricks to becoming a published author is learning when to do which.
Were Shardblades influenced by lightsabers?
Yes *long aside about how everyone in the last 40 years was so influenced*, but not sure how direct of an influence
So is this [interludes] your way of kind of introducing more world details, worldbuilding--
Yeah. This is a way of me introducing more worldbuilding. Because-- See, one of the differences between myself and the previous generation of epic fantasy writers is I tend to be very-- I tend to stick with one location, alright? The generation before me-- and I love these books, but the generation before me-- the Tad Williams, the Robert Jordan, and things like this-- tended to be quest epic fantasy. You'd go one place-- It's kind of following the grand Tolkien tradition. "We gotta get over there. We're either chasing somebody or being chased by somebody." Right? And you then travel across a varied landscape, meet lots of interesting people on your way to the place. Well I don't like to do that. I think it's partially because I grew up reading those. I'm like-- Those authors covered that really well. Or maybe it's just my natural inclinations. I write a little more Anne McCaffrey style, right? She would pick a really interesting location and spend a lot of time on it. And that's what I like to do as well. So you don't get to travel as much in my books. A lot of times in my books it's like, "We're traveling!" Chapter 1: "We're going to go on this trip!" Chapter 2: "Hey, we're there!" We cut out the, you know, the boring stuff in the middle, and we go to an interesting location. And I really like to dig into this interesting location. It let's me as an author really explore various parts of the setting. But what that does is it means you don't get as much of the breadth. Like when you have to traipse with Frodo and Sam all the way across Middle-earth, you feel how big Middle-earth is. And you don't get that in Mistborn, where it's like, "We're going to stay in the city!" and things like this. And so, in Roshar, being able to say, "Here's what's happening across the world in a different culture," is really valuable to me in the interludes. But I also know that some people just don't want to read that, and I wanted to give them a clue that this is the scene that you can skip and read later if you just want to get back to the main character.
One of my favorite aspects of your books is you always have this character that kind of has a submissive personality starting out and they evolve into a more dominant personality. Do you have an author for a series that kind of inspired this?
Inspires me? He says frequently I have a character who's in a submissive position that becomes dominant through the course of the series. Do I have an author that I'm relying on specifically. No more than the "Hero's Journey", the general idea of the person growing and becoming master of their domain where once they were not. I don't think I have a specific person I'm looking at for that. But it is a fun type of story to tell, just because of the way you can show progression with a character.
I've seen you comment on other Cosmere-based conceptual discussions and fan art around reddit. How much does fandom influence your ideas of how things should look?
When a fan really nails it, I think it can most certainly have an influence.
That being said, I firmly believe that the text comes first and foremost... I can't illustrate something that conflicts with Brandon's descriptions and expect it to be taken as canon, and a fan can render the most beautiful art imaginable but it won't stick in my head if they contradict the text.