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I had a question about the Parshendi, do they have a negotiating form? I ask because it seems they must have shifted forms before/just after the betrayal and are now stuck in war form, but if they had the ability to negotiate before why not now?
More of this will be answered in book two. They aren't 'stuck' in warform, but do have limited options.
What were you dissatisfied with in WoR?
It's twofold. Spoilers follow, obviously.
In the original draft, none of the alpha readers felt that I had 'sold' Jasnah dying to them, and were all like, "Ha. Nice try. No body. She's alive.' So I kicked the assassination scene up a notch, until betas were like, "Stormfather! Jasnah just died!"
That was a mistake, I now believe. (Though this didn't get changed, and won't get changed.) Sometimes, I over-emphasize to myself the importance of surprises and twists. The book is fine if readers suspect Jasnah is still alive--actually, I think it's stronger, because it is more satisfying to be right in that situation, and doesn't detract from Szeth's miraculous survival at the end.
I knew this soon after I'd released the book, but decided it was just too extensive a change to try tweaking.
The other one I did tweak. In the battle at the end between Kaladin and Szeth, I'd toyed with letting the storm take Szeth--him essentially committing suicide--as opposed to him spreading his hands and letting Kaladin kill him. I felt that after the oath Kaladin had just sworn, stabbing a docile opponent unwilling to fight back just didn't jive. This I tweaked, changing the paperback from the hardcover, which has produced mixed results.
Most people agree the change is better, but they also say they'd rather not have the hardcover and paperback have different accounts in it, and would rather I just stick to what we put in the hardcover. It was interesting to try, to see what the response would be like, but it seems that the better option all around is to just wait until I'm certain I don't want to revert any of the revisions or tweak anything new.
And I saw on facebook about the discussion about the name of the second book. This is more like a request, please, keep the name of it being The Book Of Endless Pages. That title is awesome! Oh and another suggestion, please, keep making huge books! Now, after reading your books, I expect books to be at least 600 pages, so you can see I get disappointed quite often lol
I will keep the books, in this series at least, long. It's what the story demands. As for title...it does have a certain charm, but I worry that it just feels wrong to too many people. Three out of four laugh when I mention it. That doesn't bode well...
Did you actually go through a horseback riding orientation for that scene in Words of Radiance, because that is literally how it works.
I have done it before in my life, and I was drawing on that. I did have to go get some horse experts, because I got some things wrong. That's kind of a little bit how my first experience riding horses went. I have a cousin who... rode show horses when she was younger.
Are there any specific choices that you've made in the story of the books that years later you go "Ah man, I wish I had done--"
Oh yeah, what a great question. Are there any things that i've done in my books that I've regretted. Like I'm like "Oh I should have done this" or things, many years later. There's basically one for every book. Or two, or multiples. *laughter* One of the big ones is, at the end of Mistborn Vin draws on the mist... I'm trying to avoid spoilers on this... which is something I'd been planning to do in Book 2, and then I wrote Book 1 and did all my outlines and things and my editor got back to me on Book 1, "Could we add more pow, more punch to the end of this book?" and I'm like "Yeah we can do this thing I was going to do in Book 2". But then it didn't feel foreshadowed to me. After I put it in and released the book, I was looking through it again like "This doesn't have enough foreshadowing." And this is where I developed Sanderson's First Law. I was "I did something wrong in this book." It's lack of proper foreshadowing on how the magic works. So there's that. There's all sorts of things, like at the end of Words of Radiance I had a character kill another character in a situation where I don't think he should have. He should have just let the character die to the environment or something like that. And so I actually tweaked that between hardcover and paperback. I'm not sure if I should have done that. I wanted to try it out and see. But yeah, every book.
Most of the time you just have to let it go, right? Elsa. You have to Elsa it. Because otherwise-- Was it da Vinci? "Good art is never finished it is only abandoned" right? Or just art, "Art is never finished only it is only abandoned". You've got to learn to just to let things go and let them be canon. And it's actually very-- I've found that readers are more forgiving of these things than the author thinks they will be. They're like "We like seeing early books, and the fact that you hadn't learned to do some of these things quite right yet. It's an aspect, a fun part of the writing". But yeah, basically every book that I wish. I wish, for instance, in Mistborn, that I had made Ham a woman. I was so focused on Strong. Female. Protagonist. that I forgot half the population are women. *laughter* And like years later I look back, I'm like "Ennnnhhhh... The whole team--" I do have Vin, who turned out really well, and Tindwyl in the next book. But in the first book you're like "Are there any women in this world? It's basically all dudes". So this happens to a lot of new writers, and if you guys are new writers, don't stress it too much. You're going to make mistakes. When they become obvious to you, just realize you're in a process. That's how you learn. You come up with goofy things like Sanderson's Laws to explain stupid stuff you've done to help yourself not do it in the future.
So I've spent quite a few hours trying to work out Pattern 1, you know Ceiling of the 2nd Rotation of the Diagram. *inaudible* But I wanted to ask you-- And Peter said you wanted to make us sweat, you know of course, on the 17th Shard. But I want to ask you, and hopefully you'll be able to answer this... Is Pattern 15 used in the solution? Would you tell me that at least? Please, I beg of you.
The solution... Indeed, the key to the solution is somewhere in the book.
No, that doesn't help me!
That helps you! That helps you.
*Questioner 1 moans* We've already got 15 pages. On the 17th Shard.
You can interact with Peter, because I ran everything through him on this. Because... And so... I actually did it all myself, but then he corrected me where I was wrong. So I'm gonna send it his way, because I don't know if he's made any tweaks to it from what my original concept was.
I know there was a change in the gamma read with some of the number.
Mhm... Yes.
You know it's pretty cool. There seems to be a ketek in there people have discovered, or a palindrome or whatever where there's numbers, patterns matching. Mirror image. Yadda yadda. *inaudible*
You should be... Yeah, see what you do.
I've just-- It would be nice to know.
I've alr-- I've given you the fact that there's a key to it.
A key to it... *inaudible* *Questioner 2 gasps* Alright...
Yes. In the book, there is a key to it.
I only yesterday found out you changed the ending for [Words of Radiance]. So here is my question. I've only read the first version where Kaladin kills Szeth. When Szeth gets killed now, it's by the storm. What is it that specifically kills him since he can normally just evade the storm or even be healed by stormlight?
Good question! So, the idea here is that Szeth has given up, and wants to die. I wanted the storm to kill him, then, as opposed to Kaladin. What kills him is losing control in the storm, and being slammed into the ground.
The bigger change here was actually my desire to leave it at least partially clear that he's not dead, in order to avoid the 'fake out' ending. Having him be dead and reborn was important, but I felt in the first stab I erred on the side of pulling a fast one on the reader.
So there’s the scene of Kaladin standing alone in /Words of Radiance/. He’s lost his spren, everything is gone, and he's just standing there, and he still fights no matter what. Did that scene come first? Or did the rest of the book?
That was the pivotal scene for the book. That was the thing I felt he needed to learn and the person he needed to be. So I have several focus scenes for each book and that was one of them for this one.
When is the next Way of Kings book coming out?
Tor has it scheduled for November, we'll see if I manage that or not. But November until told otherwise.
How has writing Shallan as the focus character been compared to Kaladin in the last book? Easier? More difficult?
So far, I've only done her flashback sequence--but this was a little easier than Kaladin's, as I've been kind of chomping at the bit to tell her story.
Are Truthspren originally sentient, or do they gain/regain sentience from a bond, like Syl?
RAFO for Words of Radiance, where a lot of these questions will find answers.
I knew I'd have to deal with it sometime, and it finally caught up with me today. My Master Cosmere Timeline spreadsheet has far too many relative dates, and not enough absolutes.
Roshar's date system
The biggest reason I have put it off is that the date system Brandon made up is both supremely logical and at the same time totally crazy. A year has five hundred days, but there's also a thousand-day cycle with different highstorms around the new year. In each year there are ten months of fifty days each. The months are broken into ten five-day weeks. The date indicates what year, month, week of the month, and day of the week it is and looks like this: 1173.8.4.3. It is impossible for me to do the math in my head to decide what the date would be 37 days ago, so I don't use the dates in my reckoning, and only calculate them as an afterthought. This dating system is also a hassle because two weeks in our world is almost three weeks there, and a month there is almost two of ours, and when writing Brandon doesn't even pretend to pay attention to those differences.
Day numbers in The Way of Kings
But then we have to talk about my relative date system. The timeline of The Way of Kings is a mess. The story for Shallan starts more than 100 days earlier than Dalinar's storyline. And Kaladin is roughly 50 days different from that. So for that book I had to pick a day when I knew there was crossover between the viewpoints and work forward and back from there. So a date in The Way of Kings might be marked on my spreadsheet as D 23 or K-57.
Day numbers in Words of Radiance and Oathbringer
For Words of Radiance I started over at day 1 for that book. Those numbers count up until the new year which is day 71. Oathbringer starts just after the new year, so I used the day of the year for my book-specific day number. Of course switching systems at the start of each book made it hard for me to calculate just how many days there were between events in WOR and OB. So I put in another column which indicated a relative number of days counting before and after the arbitrary date of the end of WOR.
Flashback dates
The next problem I dealt with were the line items that say something like "five years ago" for their date. With more than a year of onscreen time from the first chapters of The Way of Kings to the end of Oathbringer, it's really necessary to note that it's five years before what event with a solid date. Once I have a date to assign to it, I also have to decide how exact the date is. When I come back three years from now I will need to know whether this date is firm, or if it would be okay to put it three or four months on either side.
Putting it all together
When Peter found an error in the spreadsheet one day, I decided to match a serial number to each date after the year 1160 (which makes for easy calculating), and make that my absolute day number from here until forever (though I'll probably still make a book relative date, since it's a useful way to talk about things with the rest of the team). To find the Roshar dates from the serial numbers I made another spreadsheet with a vlookup table for the dates and serial numbers, then translated all the dates from the three books into that single new system (finding several more errors as I went).
I'm a new teacher; my students are really quick to jump on me when I make mistakes. I was wondering if there's any inconsistencies or characters or any of the aspects of the magic systems you made that you could go back--
Absolutely. Every book. Every book, there are things that I would want to change. And it ranges-- there's a huge gamut of different things.
For instance, in the White Sand books, my first book that I wrote, that we eventually turned into graphic novels. I had a really cool magic system that was about manipulating sand with your mind, and things like this. And then I added in a weird thing where you could transform sand into water for no good reason whatsoever. It doesn't match the rest of the magic system. Because I wanted to write myself out of a hole. And as a newer writer, I did that a lot more. It ended up kind of getting canonized, and when we went back, I didn't fix it that fast, and so it ended up in the first graphic novel, and I'm like, "We need to fix this." So, the third graphic novel-- we've given ourselves enough wiggle room, fortunately, that I can be like, "And that's not what people thought it was." Because I want it to be more consistent. So you get that third graphic novel, and you're like, "Wow, they can't do this anymore?" No one ever did it onscreen, so they were just wrong. 'Cause that totally just does not belong in that magic system.
The Mistborn books, the original trilogy, I worked very hard to make sure I had an interesting, tough, but also compelling female protagonist. But then I defaulted to guys for the rest of the crew. And this is-- If you want to write a story about that, doing it intentionally, that's a different conversation entirely. But when you just kind of do it accidentally, like, I did, I look back and I'm like, "Mmm, I didn't really want to do that". But I did anyway, because of just the way that every story I'd seen I was defaulting to (like Ocean's Eleven, and things like this), where my models were, and I didn't take enough time to think about it, where I think it would have actually been a better story if I would have thought a little bit more about that. Like, there are things like that all across the board.
I did get into a little-- trouble's the wrong term. But in Words of Radiance, I reverted it-- from the paperback, when it came out, I reverted to a previous version that I had written for part of the ending. And that caused all kinds of confusion among the fans, what is canon? And so I'm like, "Oh, I can't do that anymore." But I had gone back and forth on how a part of the ending was to play out. A pretty small element, but a part of the ending. And I had settled on one. And then immediately, as soon as we pushed print, felt that it was the wrong one. But you just gotta go with it.
I don't know. I don't think there's a strict answer on how much you can change, and how much you can't. Grandpa Tolkien went back and changed The Hobbit so it would match Lord of the Rings. And I think I'm glad he did. Even if I would have been annoyed if I'd had the first version that doesn't have the connection. When I read it, it had the connection, and it was so much cooler. I don't know if I have answers on that. But every book, there is something I would want to change.
Now that you have finished writing [The Wheel of Time], how does it feel going back to telling your epic story that you have wanted to share with the world and being able to write a story naturally without the outside constraints that came with [The Wheel of Time]?
What if anything has been the biggest challenge getting back into writing Stormlight Archive after working so hard on [The Wheel of Time]?
It feels great, though it's a feeling I've felt before. It was the feeling I had when jumping out of the Mistborn world after finishing all three books and instead doing Warbreaker. For most of the process with [The Wheel of Time], I didn't feel 'constrained' really. It was more a sense of difficulty--it was difficult to do for unique reasons. Matching [Robert Jordan]'s story, making certain to keep characters consistent, that kind of thing.
It is refreshing to move to a new project, but this one presents difficulties of its own. I have to follow up The Way of Kings, which I feel is the best book of my career so far. I poured twenty years of effort into that book. Now, the sequel needs to be equally awesome, which is a real challenge.
Also, I keep wanting to use [Wheel of Time] curses.
I'm a poet myself and I totally related to your thoughts on writing and how to keep it fresh and on fire, and yet disciplined.
I have a lot of respects for poets, it is hard work. When I had to do poetry in one of my books, I actually went to a poet and hired them to write the poems, to put the-- I don't know if you've read Words of Radiance, but the songs were kind of hired out, because I don't trust my own poetry chops, they're just not good enough.
You said that the Pits are a leak from the Spiritual into the Physical—
A necessary leak.
Ok. Are the spren a similar leak but from the Cognitive?
The next book [Words of Radiance] is going to explore the spren a lot further.
I've watched this conversation with interest, and wasn't planning to step in, as it's exactly the sort of thread that's generally better without me. Author intervention can derail a good discussion.
But after considering, I decided I did want to talk about this topic a little. There are two things going on here. One is the mistake I made with Jasnah in Words, which I've mentioned before. One is a larger discussion, relevant to the cosmere.
Warning, WALL OF TEXT. This is me we're talking about.
You see, Jasnah wasn't originally meant to be a fake-out. Jasnah originally was going to go with Shallan to the Shattered Plains--but she was really messing up the outline, diverting attention from Shallan's character arc and pointing it toward Shallan/Jasnah conflicts instead.
My biggest breakthrough when outlining the book in detail was the realization that the book would work so much better if things I'd planned to do with Jasnah in it were diverted to later books. When that came together, WORDS really started working. Hence her jaunt into Shadesmar. I initially wrote the scenes with it being pretty clear to the reader that she was forced to escape--and it was super suspicious that there was no body.
In drafting, however, early readers didn't like how obvious it was that Jasnah would be coming back. I made a crucial mistake by over-reacting to early feedback. I thought, "Well, I can make that more dramatic!" I employed some tools I've learned quite well, and turned that into a scene where the emotion is higher and the death is more powerful.
HOWEVER, I did this without realizing how it mixed with other plotlines--specifically Szeth's resurrection.
We get into sticky RAFO areas here, but one of the biggest themes of the Cosmere is Rebirth. The very first book (Elantris) starts with a character coming back from the dead. (As I've mentioned before, a big part of the inspiration for Elantris was a zombie story, from the viewpoint of the zombie.) Mistborn begins with Kelsier's rebirth following the Pits, and Warbreaker is about people literally called the Returned. (People who die, then come back as gods.) The Stormlight Archive kicks off with Kaladin's rebirth above the Honor Chasm, and Warbreaker is meant as a little foreshadowing toward the greater arc of the cosmere--that of the Shards of Adonalsium, who are held by ordinary people.
Szeth's rebirth, with his soul incorrectly affixed to his body, is one of the things I've been very excited to explore in The Stormlight Archive--and the mistake with Jasnah was letting her return distract from that.
That said, you're not wrong for disliking this theme--there's no "wrong" when it comes to artistic tastes. And I certainly wish I'd looked at the larger context of what happened when I shifted Jasnah's plot in book two. (Doubling down on "Jasnah is dead" for short term gain was far worse than realizing I should have gone with "Jasnah was forced to jump into Shadesmar, leaving Shallan alone." I consider not seeing that to be the biggest mistake I've made in The Stormlight Archive so far.)
However, the story of the cosmere isn't really about who lives or dies. We established early on that there is an afterlife (or, at least, one of the most powerful beings in the cosmere believes there is--and he tends to be a trustworthy sort.) And multiple books are about people being resurrected. What I'm really interested in is what this does to people. Getting given a second try at life, being reborn as something new. (Or, in some cases, as something worse.) The story of the cosmere is about what you do with the time you have, and the implications of the power of deity being in the hands of ordinary people.
More importantly (at least to me) I've always felt character deaths are actually somewhat narratively limp in stories. Perhaps it's our conditioning from things like Gandalf, Obi-Wan, and even Sherlock Holmes. But readers are always going to keep asking, "are they really dead?" And even if they stay dead, I can always jump back and tell more stories about them. The long cycle of comic books over-using resurrection has, I think, also jaded some of us to the idea of character death--but even without things like that, the reader knows they can always re-read the book. And that fan-fiction of the character living will exist. And that the author could always bring them back at any time. A death should still be a good death, mind you--and an author really shouldn't jerk people around, like I feel I did with Jasnah.
But early on, I realized I'd either have to go one of two directions with the cosmere. Either I had to go with no resurrections ever, stay hard line, and build up death as something really, really important. Or I had to shift the conversation of the books to greater dangers, greater stakes, and (if possible) focus a little more on the journey, not the sudden stop at the end.
I went with the latter. This isn't going to work for everyone. I'm fully aware of, and prepared for, the fact that things like Szeth coming back will ruin the stories for some readers. And I do admit, I've screwed it up in places. Hopefully, that will teach me better so that I can handle the theme delicately, and with strong narrative purpose behind the choices I make. But do warn you, there WILL be other resurrections in my books. (Though there are none planned for the near future. I took some extra care with the next few books, after feeling that things happening in Words and the Mistborn series in the last few years have hit the theme too hard.) This is a thing that I do, and a thing that I will continue to do. I consider it integral to the story I'm telling. Hopefully, in the future, I'll be able to achieve these acts with the weight and narrative complexity they deserve.
If it helps, I have several built-in rules for this. The first is that actual cosmere resurrections (rather than just fake-outs, like I did with Jasnah) can happen only under certain circumstances, and have a pretty big cost to them. Both will become increasingly obvious through the course of the stories. The other rule is more meta. I generally tell myself that I only get one major fake-out, or one actual resurrection, per character. (And I obviously won't use either one for most characters.) This is more to keep myself from leaning on this narrative device too much, which I worry I'll naturally do, considering that I see this as a major theme of the books.
...
(Sharders, please don't start asking me at signings who has had their "one death" so far. This is me drawing the curtain back a little on the process, I really don't want it to become an official thing that people focus on. Do feel free to talk about the mechanics of resurrection though--it should be pretty obvious now with Elantris, Warbreaker, Szeth, and a certain someone from Mistborn to use as guides.)
In the picture of Adolin, the double underlined sigh was "his addition."
For instance, Lopen did become king of Alethkar. For a short time. Because he and his family hid King Elhokar and, at least in his perception, convinced the king to abdicate for a short time so they could not lie when they said "We don't have King Elhokar with us." This is canon, okay. And, so, Lopen became... In his mind, at least, they got the king to agree for a fifteen-minute "Lopen is king of Alethkar" abdication, so that they wouldn't have to lie (because it was very important to them), so they could get him out of danger when some people were looking for him. That story, some day I might write it, I don't know if I'll ever be able to. But when he says (I think he references that at some point in one of the later books) "I was king," he really was!
I love Writing Excuses and I'm actually going on the Retreat this year. I think the cruise is a good idea.
See Mary did the Steampunk cruise, and she just kind of asked "Wait a minute, what are people paying for this?" and it was less than we had to charge them for the retreat at her house, because of all the food and stuff we had to do. We were like "Wait a minute, you can do this for the same price or less? Why are we doing this at her house?"
Cruises are a blast.
I've been on several and I've enjoyed everyone of them.
The Alaska cruise has been one of the best experiences of my life. So it's going to be good for writing and inspiration.
My cruise story is the Taravangian interlude [in Words of Radiance] was written on a cruise with my family. I sat on the little balcony to our room typing while everyone else went off and did stuff where there were people. And I was by myself and it was great.
How extensively do you outline?
Depends on the book. Alloy of Law had a few pages. The Way of Kings had hundreds of worldbuilding notes. The outline for [Words of Radiance] sits open on my computer right now at...12 pages single spaced. It's maybe 2/3 done.
One of the things I'm most excited about with this book [Rhythm of War] has been what you described as being a foundational scene that you got to write that you've been thinking of forever. In the Cosmere and in your writing, has there been anything that you've done on that level? You have huge reveals and awesome scenes all over the place, but has there been one that's been cooking for so long and then you finally got to put it on the page? Or is this the first time you got to do that?
No, the first one of these was Kaladin taking the Shardblade at the end of Words of Radiance. That was the first really big one that I had been planning for a long time. Even stretches back to some things in Way of Kings Prime that I never got to write, because I never wrote the second book of that series. So that is one of those moments that just have been planned forever.
Most of these are Stormlight or Dragonsteel. Because Mistborn did not have as long of a cooking phase. So while there's cool moments in it, it's not like I spent ten years planning them. I spent, like, two years planning them. And so the ones for... there's one in Words of Radiance, there's one in this book, and there's one at the end of Book Five. (And there's one in Book Ten, also, but there's a bunch of them in Stormlight, the back five.) In the first five, we've got one in this book. (You'll know when you get to it. I think you'll know when you get to it.) And there's one in the next book that I first thought of and tried playing with an outline of... boy, it was, like, '98 or '99, before I even started Prime. After Five, we'll have a lot to talk about about that moment. But you'll find one in this book.
My brother and I disagreed, at the very end of Words of Radiance, the sword that-- Is it the same as in Warbreaker?
Yes it is, in fact Vasher is in the book.
Is that Vasher?!?
No, look for somebody making color metaphors and when they are waking up they feel like they can sense other people's presence and things like that. There is one character who is Vasher. He doesn't go by that name anymore.
Will Stormlight 2 have more Shallan? I require more Shallan.
Much more Shallan. It's probably going to be her 'flashback' book.
I believe I've heard you mention more than once that you weren't happy with WoK, could you explain a bit exactly what you would change or love to do-over with it or expand on your comments?
The original draft of The Way of Kings had some big issues. One of the largest ones was that I was trying to do too many characters with too many separate plots. (Jasnah and Taln both had full sequences with as much complexity as the three main characters in the current draft.) Beyond that, Kaladin's character (he had a different name there) was bland and never worked. I needed to rebuild him from the start.
I'll post more explanations of this in the KINGS annotations, which I'm working on right now. As for teasers for the second book, one of the interludes is from Taln's viewpoint. (He's the guy who shows up in the epilogue of the previous book.)
I just finished the timeline for Oathbringer, and thought you might like to hear about the process. (Spoiler warning: There may be tidbits of information in this article about the plot of Oathbringer, but I have specifically made up many of the examples I use, so you can't count on any of it as fact.)
I know that some of you think, "Brandon posted that he had finished writing Oathbringer months ago. Why do we have to wait until November before it's on the shelf at the bookstore?" This is a natural question. I asked it myself years ago when I heard similar news about a Harry Potter book. The timeline is one small part of the reason, but it will give you a small glimpse of what is going on at a frantic pace here at Dragonsteel trying to get the book ready to go to press.
You may know that I'm Brandon's continuity editor. I keep records of every character, place, spren, and piece of clothing to name just a few. The next time a person appears, I make sure they have the right eye color and eat the right kind of food. There's so much more to it than that, but it gives you an idea of the level of detail I try to be on top of.
Another thing I track is the timeline of each book. I have a massive spreadsheet called the Master Cosmere Timeline (I can hear some of you salivating right now, and no, I won't let you peek at certain corners of it).
In some of Brandon's books, there are a few main characters who spend most of their time together in the same place. For those books, the timeline is simple. Take The Bands of Mourning for instance. It's about four days long. Nobody goes off on a side quest. The timeline only takes up 32 lines in the spreadsheet because there are that many chapters. On the other hand, the current spreadsheet for the Stormlight books has over 1100 lines.
Here's a sample of the timeline spreadsheet. The white columns are the dates, which I have an entirely separate post about. In column F we have an event that happens in the book. Column E tells how long it has been since the last event. Then I have the quote from the book that I used to justify the timing, the chapter the quote appears in, and whether the event happened on the day of the chapter, or sometime in the past or future.
The timeline for Oathbringer starts on day 4 of the new year, and ends on day 100. (Which, for those of you who keep track of such things, makes the date 1174.2.10.5). My day count could change by a day or two here and there, but I'm pretty happy with how I got the different groups of people to all end up in the same place at the same time.
Why bother? Well, sometimes Brandon writes a flashback and someone is looking at a cute baby. It's important to tell Brandon that this particular kid wasn't born for another four years. A character might think to themselves, "It's been a month and a half since I was there," and though it has been 45 days, a month on Roshar is 50 days long, so it hasn't even been a single month. Brandon often glosses over those conversions in early drafts.
The most important purpose, though, comes when two groups of characters are apart for some length of time. Let's take Kaladin and Dalinar in The Way of Kings. Kaladin was running bridges for battles where Dalinar and Sadeas cooperated. Were there the same number of days in Kaladin's viewpoint between those battles as there were in Dalinar's viewpoint? The answer is no. I was assigned this job after that book was finished, and as much as we squashed and fudged, there is still a day or two unaccounted for. An interesting tidbit from The Way of Kings‘ timeline is that Kaladin's timeline has 50 days in it before Dalinar's starts. Chapter 40, when Kaladin recovers from being strung up in the storm, is the same day as the chasmfiend hunt in Chapter 12.
Going back to Oathbringer, sometimes I'm amazed at the power I have. As I go through the manuscript, I can take a sentence like, "He spent four days recovering," and simply replace the word four with two. Brandon gives me a general idea of how long he wants things to take, and I tell him what it needs to be to fit. It's a big responsibility, and sometimes I worry that I'll mess the whole thing up.
Oathbringer is the first book in the Stormlight series where I worked with a list of the storms from the start. Peter tried on Words of Radiance, but Brandon wrote what the story needed and expected us to fit the storms in around that (A perfectly reasonable process, even if it makes my job trickier). In Oathbringer though, the Everstorm and highstorm are each on a much stricter schedule. We need such exact timing in some scenes that Peter (with help from beta reader Ross Newberry) made me a calculator to track the hour and minute the storms would hit any given city.
Yet another thing we needed to calculate is travel time. How fast can a Windrunner fly? How many days does it take to march an army from here to there? Kaladin might be able to do a forced march for a week, but what about Shallan or Navani? How long could they manage 30 miles a day?
Hopefully now you can see why we've needed months of work to get this far, and will need months more to get it finished in time. At some point, we're just going to have to call it good and turn the book over to the printer, but even though you think you want to get your hands on it now, it will be a much better read after we have the kinks worked out.
Moving on to Words of Radiance, as we were entering typo fixes for the paperback of this book, I made changes to a few lines near the end. This isn't anywhere near as extensive as the changes in Elantris, but once again I figure I should be up-front about what I did and why I did it.
This part is going to have some spoilers for the book, so if you haven't read it, please stop right here. I'll put a number of blank lines here to prevent accidental spoilers. Scroll down if you've finished the book.
So, in Words of Radiance, I think the scene I worked on the longest both in my head and on the page was the final confrontation between Kaladin and Szeth.
There was something I wanted to do, and took a stab at it in the text, then backed off because I couldn't make it work. It was important to me that Kaladin refuse to kill Szeth at the end. Kaladin is about protection, not vengeance, and once he realized that Szeth really just wanted to be killed, I wanted Kaladin to hesitate.
It didn't end up working, and I moved on to a new version and submitted it. But this itched at me, and by the time the book was released, I felt I'd made the wrong choice for that scene. So I've taken this chance to roll it back to the previous idea, and written it in a new way, which I like much better.
The events are the same, except for that moment. Szeth is now killed by the storm instead of by Kaladin, which I think is more thematically appropriate.
The question this raises is about Szeth being stabbed by a Shardblade, then being resuscitated. I'm sad to lose this sequence, as it's an important plot point for the series that dead Shardblades cannot heal the soul, while living ones can. I'm going to have to work this into a later book, though I think it's something we can sacrifice here for the stronger scene of character for Kaladin and Szeth.
Is Lhan from the [Way of Kings Prime] reading the same one from Book 2?
Yes, that is the same Brother Lhan. I knew he wasn't going to get to have a big part in the books once I moved Taln so far off. So I gave him a nice cameo with his own interlude so that at least he would be in the books. Because in that version, he basically wandered around, following Taln, complaining for the entire book.
As we said, we're not gonna do Kickstarters for most of our leatherbounds. But we will probably do one for Words of Radiance.
