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Questioner

Can you give us some of the magic systems that you've rejected?

Brandon Sanderson

Magic systems I've rejected. Rejects for me are kind of a weird thing in that they stick in the back of my brain, and when I reject something, it's more along the lines of "this isn't ready yet." And I'm constantly thinking, do I want to do this, do I not want to do this. I've wanted to do one with sound waves forever, visualizing sound waves and things, and I have not been able to write it in a way that either felt different enough from other magic systems that approached this, or that just worked on the page. It's very hard to take something auditory and make it-- put it into a book for some reason. Some things work, I mean, Pat [Rothfuss] has made an entire career of having music to his language... so it can work, but I've never been able to get a really solidly sound-wave-focused magic to work, but I think of and discard tons of these things everyday. Sometimes, I discard them, because I'm like, "No, that's too Brandon." It's like, it's too much, a challenge. "Can I make peanuts into a magic system?" That's one I haven't done.

By the way, I wanted to do a story about a leekromancer, who had power over legumes. Yeah? Uh-huh. See. That's just too Brandon. You can read that, and say, "He wrote this entire story just to make the leekromancer pun!"

Brandon Sanderson

I often, when I'm building languages, there are a lot of different ways that I go. I am not a philologist like Tolkien was. I'm not a linguist. Peter is, my editorial assistant, but I am not. I have had a little bit of schooling in linguistics, but not enough to be creating complete con-langs out of nowhere. So I'm usually using a few tricks to develop my language, one of which is to look for historical languages and seek inspiration from them.

And the pitch for myself on the whole thing, in Fjorden, was what if the Vikings had created a very hierarchical religion like Catholicism, and had instead of conquering the world as Viking, Nordic destroyers, they had become a religious group. They're really based off of the Geats, which is Beowulf's people, which are Nor--are British, they're British Vikings, basically. And so when I was developing them, I was using a bit of Nordic--old Nordic and things like that--and I'm using a bit of old English, and just trying to get that feel. In Beowulf, because in Beowulf they have some Danes and you have some people from the British isles, and there's this crossing over, and things like this, and it's this interesting sort of mix and hodge-podge of cultures and languages, from, 1000AD, and i really liked that feel, I really liked that linguistic flavor, so to speak, and so, I was really reaching towards lots of names out of Beowulf as inspiration.

Kingsdaughter613

Considering the philosophy on Roshar, someone's probably come up with the concept of Occam's razor. He [DM of my RPG] wants to know what it's called and who it's named for on Roshar.

Brandon Sanderson

I have not come up with that, so it's named for him. What's his name?

Kingsdaughter613

I only know his name on the Shard, which is Peace.

Brandon Sanderson

Peace? It's Peace's Theorem.

Questioner

How has your worldbuilding changed over time to date.

Brandon Sanderson

So, it's become a lot more deliberate. And it has become more-- One thing is I've let myself push further. I've found that worldbuilding is one of those areas in storytelling where I can let myself kind of off the chain, off the leash, and go steps further than I thought I could, and it still turns out well. A lot of times if you do that with story, for instance, if you do that with plot, the way to kind of go off the leash and do something unexpected with plot is to do something that's not foreshadowed and is not satisfying, which can make for a really interesting story. Go watch Into The Woods if you want to go see something that-- Yeah, half the audience groaned when I mentioned Into The Woods, for a good reason. That's not a reason to not tell those stories, but experimenting with plot can, in many ways, be something that fails pretty spectacularly. Good to do it, it's good to learn those things, but worldbuilding, I've found, I haven't found that I've gotten ever too far where it's failing because the worldbuilding is too different. I've failed with my worldbuilding because I haven't brought the elements together. In fact, Apocalypse Guard, one of the reasons I pulled it is the worldbuilding was not working. And I can't release a Brandon Sanderson book with bad worldbuilding, right? *crowd laughs* That's like the baseline, "No." It's not the only thing that was broken in it, but it was one of the things that was broken in it. So, more deliberate, allowed myself to stretch further, and I would say I'm always kind of looking for those conflict points, nowadays, in the worldbuilding. The points of conflict are really interesting to me.

Jamester86

Is writing a full book with no magic system easier harder when compared to the freedom (and limitations) involved in traditional fantasy? (I haven't read the spoilers, so if there is a magic system, ignore this question :-)

Brandon Sanderson

Science in a book like Skyward tends to be its own type of magic--even the Legion books (taking place as the closest to our own world) really have a brand of magic, done my way. So I suspect I'd work this sort of thing into a story no matter what. I do tend to try to do a different tone or style in different genres.

Laurel

You seem to purposefully invent a system of magic for each book/series you create. I think that Warbreaker was one of the most unique I've ever read. Do you have a reason or story behind this habit?

Brandon Sanderson

Yes—both. Back when I was trying to break in, I spent many years writing books and not getting published. I was under the impression (it's just one of my beliefs) that it would be easier for me to break in doing a lot of different standalone novels, or first books in a series, as opposed to writing all in one series and putting all my eggs in one basket. For that reason, I got a lot of practice finishing one book and starting a new one that was in a new setting in a new world.

For me, a new setting/world means a new magic system. Magic is part of what draws me to fantasy, being able to play with the ideas behind it. It's what engages me; it's what excites me. And so part of the real fun of starting a news series is developing a new magic system. In a way that's kind of like the little twinkie or whatever that I'd hang in front of myself in order to get me excited about a new series. I'd be just coming down off a writing high at the end of a book, and I'd still be excited about the old series, its characters and world. Creating a new world is a lot of work, but there's an excitement to it as well. I'd focus on that and say, "Look, I get to create a new magic system, let's see what I can play around with for this book." So because I got used to doing that, that became my modus operandi, my method of working. That still excites me. Oftentimes it's the opportunity to create a new magic system that gets me excited about writing a new book.

Questioner

I wanted to ask-- So you--I think more than almost any other fantasy author--you create universes and then you leave them behind. Entire uni-- I almost feel like you could sit down-- you could have like pages of a physics lecture in each of your universes and you would have equations for how it works. Do you have-- Have you always had these ideas for these various universes with gods and magic systems and things like that, or are you always creating them, sort of as you go? 

Brandon Sanderson

It's yes and no. A lot of the ones you're seeing in the cosmere are things I created at the beginning to be kind of what the cosmere was. But I left some holes intentionally cause I knew I would come up with cool things that I wanted to add, and so I built in that wiggle room, and I'm always coming up with new ones. And there are way more that I want to do than I can write, like the one I keep wanting to find a chance for is--

Do you guys know how Nikola Tesla tried to create wireless energy? I think I've talked about this one. Like, he tried to create wireless energy, and I'm like "What if there were a world where that happened naturally?" Where you had a natural current going, and you could like set your lantern on the ground and it would create a current from the sky to the ground and your light bulb would just turn on. You don't need electricity. And how would-- What if we have giant toads that could shoot out their tongues that would create a current,  and they're like taser tongues? *makes zapping noises* Stuff like this. And so, I started jumping in to looking at electricity and things like this, and current and whatnot, and that's just all back there and I'm like "Aww, someday I need to be able to write this." But there are so many things that I want to write that I just don't have the time for, so it's a yes and no.

Questioner

So do you have, like, "what if" questions and then you build a universe from there?

Brandon Sanderson

Usually they're "what if" questions, but Sanderson's Zeroth Law--I've got these laws on magic you can look up,  they're named humbly after myself--so Sanderson's Zeroth Law is "Always err on the side of what's awesome". And usually it's less even a "what if?" and it's a "That's so cool, taser toads!" Like if you really want to know the truth of where The Stormlight Archive started, there's all this cool stuff, like part of it was like "What if there was a storm like the storm on Jupiter". And then I eventually changed it to a storm that goes around the planet, something like that, but the real truth was "Magical power armor. YEAH! Magical power armor is cool! Plate mail power armor! Why would you need plate mail power armor?" Y'know, and it starts with the really cool idea. Mistborn started by me drifting in a fog bank at eighty miles per hour in my car and loving how it looked as it drove past and saying "Is there a world where I can imitate this feel, where you look out and it streams by." It's those early visuals or concepts that make me say "Oh yeah, I wanna do that!". That is where my books really come from, and then I layer on top of them the "what ifs?" and trying to build a realistic ecology based around these ideas.

sciencetor2

I was the one with the weird alcohol question. I'm a brewer so I was trying to complete the article I wrote--I wrote the article on the [Coppermind].

Brandon Sanderson

So really, you're going to have to give me advice. What would you think?

sciencetor2

Basically, if they have distillation apparatus? Because they've replaced a lot of technology with Stormlight technology

Brandon Sanderson

They do have distillation apparatus.

sciencetor2

Okay. Then anything above 20% alcohol has to be a distilled spirit. Anything below has to be a brewed spirit.

Brandon Sanderson

Okay, brewed. So a wine can be brewed? You call wine a brewed spirit?

sciencetor2

Technically, you call it fermented, but I'd say brewing process. Otherwise it's a distillation apparatus, and you have to actually distill it and boil off the alcohol.

Brandon Sanderson

That I know about. But the actual terminology...What we don't see a lot of in the Stormlight Archive is a beer. The hops, the fermented, the bubbles. You just don't see that. What you see is things we would call a wine, and things we would call a hard alcohol. A spirit, I guess. That spectrum is, to most people there, one spectrum. They do use grains for making things like a Horneater White. So that's probably going to be as close to a..

sciencetor2

Everclear?

Brandon Sanderson

Yeah, there you go. Yeah.

sciencetor2

Pink, by the way, doesn't have any alcohol according to the chart?

Brandon Sanderson

Yeah it's just juice. Just a squeezed juice, I actually kind of imagine that one. And the next one is they squeeze the juice and ferment it. And then at some point during that line, I guess it would be at the 20% mark, they start distilling, and some of them are going to be grains that they made and stuff like that.

So you can take that all as canon now, and you can write it.

sciencetor2

So it's juice, not tea? Because it said tea in the little chart? It said, "I've had tea stronger than this."

Brandon Sanderson

Oh yeah. It's not a tea. "I've had tea stronger than this" is just a joke that it doesn't have any alcohol in it. It is a juice.

Questioner

How do you go about designing your magical systems? Do you come up with all the rules at the beginning, or is it developing as you write?

Brandon Sanderson

It’s a little of both. I have some essays I’ve called Sanderson’s Laws, because I’m a humble guy. If you google those and find those, you can read some essays about how I write magic systems. The answer to your question directly is, oftentimes I’ll come up with something really cool. Hey, you draw on the ground with chalk and play magical Starcraft against each other. Tower defense with chalk. What are some basic rules? Let’s write the book, and as we’re writing I’m like, this question arises, this question arises. How would I answer that? Let’s build in answers to it. With the Rithmatist, I already had the foundations of Cosmere magic, so I could say, “How does this work? Well, it works like this.”

Questioner

I'm working on being an author as well. How do you worldbuild?

Brandon Sanderson

You look for what is going to be relevant and importnat to your characters, and spend your time there. So don't, for instance, build a whole bunch of new languages for a world where all your characters are going to be from the same country, and the languages don't play a relevant part. That is what I would say, particularly in the beginning. If you feel you need more to help you make the world feel fleshed out to you, do that. But worldbuild in service of the story you want to tell.

Questioner

How did you choose Aztec culture as opposed to Mayan?

Brandon Sanderson

Because I like, I think it’s interesting. I’m really fascinated by the way that, in North America, Aztec culture was one of the closest things we had to an empire. Granted, the Mayans were similar too. This isn’t a good thing, but they were starting to be a colonial power in North America, they were just 100 years behind because, different people argue why. The argument of, they didn’t have good [not sure what he says here] animals like they had in Europe. Europe had access to horses and cows, and, particularly in North America, they didn’t have access to these beasts of burden. There’s also the argument that, through most of South America, the terrain was not really good for pulling carts and things like this. So no animals and not really good for the wheel makes communication between cultures difficult. Communications between cultures is what inspires technological progress most of the time. So suddenly, you have this, where they’re really advanced in some areas, like their mathematics and whatnot, but they don’t have the wheel. And that is so interesting, and the Aztec is really interesting. The idea that they came [...] they found Tenochitlan after leaving Aztlan and come to this place and they’re these people, and their god is the hummingbird and all this stuff and it’s just really cool mythology and culture, but all anyone knows about the Aztecs is, “Human sacrifice!”, right? That’s the thing everyone focuses on, when you’ve got this really deep and cool and rich culture as well. They didn’t even really sacrifice, according to most people, that many people, no more than in European wars, they would execute after you… but it’s got this really cool mythology around it. Anyway, it’s just a really cool culture, and being from North America it’s something I wanted to dig into and deal with. Plus you’ve got, this is kind of a minefield of stuff, but you’ve got this weird colonial thing going on that I wanted to play with. In the Rithmatist world, the Aztecs had unified into a colonial power and a lot of the North American tribes had unified beneath them. Some left happily, some not happily to fight against  the chalkling threat. They got pushed all the way back, fighting and fighting and fighting, and then the Europeans come in, and they’re like, “Great, this continent that there’s nobody in!” and they’re like, “Hey no, that’s ours!”. So you’ve got this really, at least to me, interesting interaction between, cause there’s all these myths that perpetuated in the 1800’s that there weren’t that many people in North America when we came in. It was just basically empty. That was the myth they were telling themselves to justify the wholesale conquering and slaughter of the people. A lot of times I’m like, so what if they got there and these people had been killed in a big war? You’ve got this colonialism and this cool power to the south who’s like “No, you’re stealing our land” but they’re like “No, you guys weren’t here” and they’re like “No, we were fighting there”. It’s a really interesting thing to deal with, and it’s exciting to me, but boy is it a minefield. Let’s hope that I can do the second book without being too offensive to people. But that stuff is fascinating to me.

Questioner

Do you think that the sensibility in terms of writing about Native American cultures has to do a lot with how times have changed, since you’ve written Rithmatist?

Brandon Sanderson

Oh yeah, definitely. Since I’ve written Rithmatist, my sensitivity to this has skyrocketed, I think everybody’s has. That’s a big part of when I went back to the book, and I thought in the sequel I was dealing with it sensitively and I’m like “Oh, no. I don’t think I’m approaching that sensitively at all”. That was part of the reason I had to drop it and revise it. Also, I just didn’t think it was doing cool enough things and whatnot. I’m glad I didn’t write it in 2008 when I’d been like“Aztecs are cool, let’s write a book that has Aztecs in it!”, instead of saying, “Let’s do more than Aztecs are cool, let’s make sure that we have actually done our research”, instead of just relying on it. There are some things you can rely on, like Kaladin in the Stormlight books. I know enough about field medicine and what it is like to be a surgeon in the pre-modern era that I could write a cool book where a guy was himself a surgeon in a pre-modern era, and then I just gave it to a field medic, someone who had actually been in battle, and said, “What did I get wrong?”. He’s like, “You got this, this, this wrong, fix those and it’s good”. I can do that. I can bluff my way through making Kaladin work and then find an expert to fix it. That’s what I would’ve done in 2008 if I’d written Rithmatist. I have a feeling it would’ve been so far off that I would’ve given it to them and they would’ve been like, “You can’t fix this. This is fundamental”. That’s a writing advice. There are a lot of things you can bluff your way through, if you get yourself like 50% of the way there and then find an expert to fix the really bad parts for you. But you have to be able to get far enough along that it’s fixable.

TopRamen713

I think it's probably the remnants of the first agreement between the singers and humans. They were allowed to terraform Shinovar, and rule that area, but anywhere else, they were forbidden from. Eventually, it morphed into the "soil lands are for humans, everywhere else is for singers." Then, over the millennia, it became a religious teaching, "don't walk on stones."

Peter Ahlstrom

Brandon wrote a ton of worldbuilding down before starting to write the first book, and this particular thing is definitely something he planned from the start. He does keep a lot of stuff in his head, but sometimes that shifts over time. Part of our job is to make sure what's in his head now doesn't conflict with what has previously been published.

If the outline doesn't work for something, Brandon will change it while writing. As long as it doesn't conflict with published canon, it's always more awesome than his earlier plans.

Questioner

My question is about, especially in the Stormlight series, I noticed that you use a lot of different languages and that when people speak in languages that is not their mother tongue, they use different phrases and they make mistakes that really remind me of the mistakes that we Israeli do when we speak English. Do you speak multiple languages and can you tell us a bit about languages in the Cosmere?

Brandon Sanderson

So, yeah. I do speak... poorly... I studied French all through high school and my French is really bad. And I was a missionary in Korea and learned Korean and my Korean is slightly less bad. *speaks Korean* I said, "I don't speak Korean very well, I speak about as much as a rat's tail," which is a phrase in Korean. Learning another language was really helpful for writing fantasy books. Going and living in another culture? Really helpful for writing fantasy books.

Languages in the Cosmere are going to vary based on my needs for a given book. I spend my worldbuilding time on what is relevant to the characters and story. So, for instance, the linguistics in Elantris were really important to the story. The linguistics in Mistborn were not as important to the story and so I spent more time on the languages for Sel than I did for Scadrial. I did spent a decent amount of time on the languages for Roshar because all the different cultures and things like that having conflicts with one another is a big part of the story.

Worldbuild in service of the story, is my suggestion to you guys. Spend your times on things that are going to be relevant to the characters.

Questioner

So what are the chances, once that last Stormlight comes out, that you might open up that worldbuilding wiki up for viewing?

Brandon Sanderson

You don't know, I might do that. That's feasible.

Questioner

It seems like it might be a cool way, other than like waiting another 3–4 years for it to be edited into 2 or 3 atlases or whatever, in this day and age a wiki seems like a good way to do that.

Brandon Sanderson

Yeah. The fun thing is, it's now like 15 years old, so it's got all the old stuff from the original write in it as well.

Questioner

Which would also be kind of cool to see.

Brandon Sanderson

Which would be cool to see how I've changed things. There's stuff in there before spren were even part of the world and stuff like that.

Questioner

<How do you develop/create names?>

Brandon Sanderson

It depends on the book. Usually I develop the language and sounds that are going to be used in the language and then I try to build names out of it, but sometimes there is trick like in Alethi with symmetrical names and I focus a little more on that.

So it just depends on the book.

Shivertongue

What aspect of a new setting do you find to be the most difficult to develop?

Brandon Sanderson

Hmmm.... The everyday stuff is actually the hardest. For example, the question about racist jokes. They'd have them in world, but getting everything like this into a novel can be tough--particularly since it has a chance of squeezing out the story if you do too much.

Questioner

The character Spook, is there a pattern to Spook's street slang?

Brandon Sanderson

Yes, but it's a really loose one. It was based off of some rhyming slangs, some street slangs, and some things that I researched, where it would evolve day by day, and they would throw in some extraneous words just to confuse people that weren't speak it. It was also based on Internet slang. And so, yes, there are rules, but the rules are kind of loose and free, and you can add weird words when you want to. You basically put everything in the past progressive and then you add lots of extra "to be" phrases. Then you reverse a few of your syntaxes, and then you go for it.

Questioner

So it's practicing a whole lot to sound improvised.

Brandon Sanderson

Yes. [...] Wasing the being of complicated to be. No, complicated to see. Yeah.

Questioner

How do you come up with all these names?

Brandon Sanderson

I do the language first and then I build names that fit. There’s no science to it, just instinct.

Questioner

What's the source of rubber on Roshar?

Brandon Sanderson

It's not very exciting, it is a tree. It's not an actual rubber tree, it is a Rosharan version of the tree. I actually had to think about this, cause silk doesn't come from the same place that silk comes from. And then, I'm just going too far. Silk I can at least talk about and I can name it seasilk, but for rubber I'm just like, it's a rubber tree. We'll just make it rubber. It's not petroleum based. That's gonna be a hangup on Roshar, that they don't have petroleum reserves in the same way. They are a planet that has only been around for 12,000, 13,000 years. And beyond that, there's the whole crem thing. They do have some sources of petroleum that are biological, or I guess it's all biological, but it's not, yeah. That's gonna be a problem for them, let's just say. Access to large petroleum reserves is not a thing you will find there.

Questioner (paraphrased)

I've lost track of the number of magical systems that you have created and I was just wondering if you could say a little bit about your process of creating magical systems.

Brandon Sanderson (paraphrased)

What I'm looking for is something interesting. It is kind of hard to explian, because to create a magic system, I've read a lot of fantasy, and personally I feel that one of my duties is to push the genre in different directions. There was a period where our worldbuilding was not as extensive as it should be. Stuck as we were for a while, it felt like the genre hit a bit of a rut, and I wanted to push it in different directions. The screwy magic systems I create are part of that. I feel excited about them, it's something I feel ?? Google Sanderson's First Law.

Flip

You have quite the world you have created. I look at the map and see a lot of different locations. How many of the named locations are actually going to be used? ... Anyway, I am always curious as to how much of one's world that has been built actually gets used.

Brandon Sanderson

You'll have to read and see what happens. I will say this: When I build a map, I don't consider it to be a to-do list. In fact, it makes a world feel unrealistic to me when every single place on the map ends up getting visited. So it's not a to-do list, but many of those locations are very important.

BenFoley

One common theme in magic systems across fantasy is the use of artifacts to focus, increase or do something specific with the magic. Inclusion of artifacts is something you have avoided in your magic systems (although I will say I haven't missed them). Is there a reason for this? How has your writing changed with the 'forced' introduction of artifacts (i.e. finishing the Wheel of Time)? Do you plan on using artifacts in your own works after you finish the Wheel of Time?

Brandon Sanderson

I've not done artifacts for the same reason I've not yet done a lot of things—not because I don't want to, but because I like to keep the focus in a given book or books. There wasn't room for yet another extrapolation in that direction when writing the Mistborn books, and the magic system didn't really allow for it.

However, I think there is a lot of room to explore magic artifacts. I've long been wanting to do something that refines magic and uses technology based on it, in kind of a magic-punk sort of way. Kings, for instance, does use artifacts and magical items—very specific kinds, mind you, that are built into the framework of the magic system. But they're there. One of the big elements of this world will be the existence of Shardplate (magically enhanced, powered plate armor) and Shardblades (large, summonable swords designed to cut through steel and stone.)

This isn't really because of the WoT—I wrote the original draft of this book long before I was published, let alone working on the WoT—but I have always lilked the use of artifacts in the WoT world, and it has been fun to use some of them in that setting.

Questioner

From the moment you begin worldbuilding Roshar how long did it take you before it really resembled what we read in The Way of Kings and Words of Radiance?

Brandon Sanderson

Resembled? I would say about a year. But I started worldbuilding it in 2001, if you read the version I wrote in 2002 you would say, "This feels like Roshar" but the spren weren't in it yet.

Questioner

The thing about women eating sweeter foods, and how sharp the gender divide was and-- I just found that worldbuilding really interesting, so how do you get inspired by that?

Brandon Sanderson

So I noticed that a lot of cultures have these really stark gender disparities. And I think in America we don't—like even around the world we still have a lot of them—in America we kind of-- I'm glad we don't because I think it is actual progress to not [have these disparities]. But at the same time that's a really big part of so many different cultures that I wanted to play with that idea.

And I loved in The Wheel of Time how Robert Jordan had the magic word differently [...] and so I was looking for a long time for something I can do that plays with the idea of gender roles, and that's kind of what rose out of it. It actually came from when I was working on the history and the moment when the men kind of seized control of the Shardblades. You know about this?

Questioner

Yeah, I read about it online.

Brandon Sanderson

So that moment I'm like "alright, there's a divergence there. How do they strictly define the gender roles to maintain the power of these weapons?" And I think that's-- and I just kind of built from there.

Questioner

It's really interesting though that women in a way are actually the creative minds-- they're actually not suppressed, but they're repressed in a different area.

Brandon Sanderson

It is, right. It's this weird repression where you can't do what you want, but they're actually in many ways the most powerful ones in society, but they're constrained by it.

Questioner

Yeah, they're the ones that are creative because men don't even read because they're not supposed to. I guess that's what's really interesting to me.

Brandon Sanderson

It was sooo much fun to figure some of these things out because it plays with expectations a little bit but also plays into them in really interesting ways.

Questioner (paraphrased)

How do you pick names?

Brandon Sanderson (paraphrased)

It really varies based on the book. I'm often picking a linguistic paradigm. Alethi - there are two separate paradigms because I like linguistics to be messy. Usually based on symmetry being holy, so they'd pick names one letter off from symmetrical to avoid hubris.  Also suffix - like Kaladin is Kalak (Herald) + din which is a suffix, all of them mean things, like the old Hebrew names have "born of" or "comes through". Stick that on and drop the last letter. Dalinar, Elhokar, all of those have suffixes - nar, kar.  In Mistborn, I didn't want linguistics to be your focus, for in that I picked a simpler naming paradigm - I lifted linguistics from the real world. Central Dominance is French. The Germanic area, we have Elend and Straff, and then we have Spanish on the other area. I just kind of took Earth cultures and appropriated them. That's an easier way to do it, because Mistborn is kind of an earth analogue. But Roshar is very different. Mistborn I didn't want you to think of the difference, which is why I gave everyone nicknames that are easy to say.

Questioner (paraphrased)

When you design a new world, do you give Isaac all the details for the maps?

Brandon Sanderson (paraphrased)

Sometimes yes, sometimes no. I may give him notes on how I want it to look like, but sometimes I just let him do what he wants.

Questioner

I'm really inspired by a lot of the worldbuilding you do and especially some of the amazing planets such as Roshar and Teldain and especially how different they are from our own planet. So how do you come up with these sorts of planets and where do you draw inspiration from to make these amazing other worlds?

Brandon Sanderson

When I'm worldbuilding there's a few core principles that I follow. One is this idea that a setting should be like a character, full of quirks and flaws and advantages and all these sorts of things, you should almost have a personality for a setting. But at the same time I'm always looking for something this is going to influence the story in interesting way. What are the great visuals, what are the great conflicts that this inspires. Conflicts are the soul of all storytelling, so looking for great conflicts. But at the end of the day it's also just things I've seen, things I've experienced, like Roshar came from a mix of growing up Nebraska with these really powerful rainstorms. I remember sitting on my front porch once and the rain was blowing the right direction, so it didn't hit me and just watching this rain blow sideways. Like that's an amazing experience with lightning crashing every couple of seconds, and then visiting southern Utah and seeing the great slot canyons, things like the Zion Narrows and things like that and Little Wild Horse and just how beautiful and awe inspiring it was to be in this sort of crack in the earth and looking up and the sky seemed so distant, and those inspired Roshar. So I'm always looking, on of my guiding principles is, I talked about it a little bit earlier, fantasy, I think, should be the most imaginative genre. When I started to sell, when my books came out, I made kind of a, sort of a goal to myself that if I was going to be remembered for one thing I wanted to be remembered as someone who pushed the genre forward into different spaces and in one of places I thought I could do that was in some one the worldbuilding. You know we been kind of lock into the medieval-year-up fantast for a long time, there's a lot of fantastic stories told there. I'm like can we push other directions and can we use a little bit more of the science-fiction world-building that you from a lot of the great science-fiction stories but apply it to fantasy, because we can break the laws of physics in ways that they can't, so that is where it came from.

Argent

In The Stormlight Archive there have been multiple writing systems, [which] as a part of a community effort we've translated, for the most part, the Alethi [Vorin women's script], the Thaylen. Can you talk about the technical details of the glyphs writing system?

Brandon Sanderson

The glyphs were designed by Isaac Steward. He is my scribe, artist, and cartographer. He is also the art director at my company. We sat down and I wanted something symmetrical, so actually half of the glyph is repeated. When you read into it, it's symmetrical, and you can read them by the points where they slant, but you will have to go talk to him about exactly how to do it, because I say "I want a glyph for this" and he designs it. So they are readable, but-- The thing that I used as a model is, I got Arabic art; if you guys haven't read Arabic word art it's gorgeous, it's really cool. And sometimes when it gets really distorted you have to know already what it says, and that's how some of the glyphs are.

Questioner

In which part of your process do you start designing [maps]?

Brandon Sanderson

In the old days, it was during the prewriting phrase, before I got into it. Now that I have Isaac, I can generally just write the book, give it to Isaac, and say, "All right, here's what I was imagining. Give me some iterations on this." And he's very good at that... It depends on the book. For Stormlight, I gave him a map and said, "Here's what it looks like." But for Skyward, I'm like, "Feels like this. It's, like, this distance. Come up with something."

Questioner

I wonder if you knew what color the stone was inside of Horneater peaks and the mountains around the Shattered Plains?

Brandon Sanderson

Depends if-- most of it's going to be cremstone. So it's going to be various shades of tanish brown. Very generic stuff, particularly around here.

Horneater peaks, you-- *pauses thoughtfully* Horneater peaks you're probably going to get into some more slate, some more dark grays and things like this, weathered stone that doesn't have the crem buildup because the peaks are gonna pop up above where the crem is building up, so.

So that's where you're going to get some real, untainted rock which otherwise on Roshar you've got to burrow to get.

Questioner

So the gray one is the untainted one?

Brandon Sanderson

Yeah.

Questioner

For the creatures on Roshar... where do you start in your worldbuilding for that kind of thing?

Brandon Sanderson

So where I started for Roshar was the highstorm. So I knew I had the highstorm and I was going to want to build out from that, and I would want an ecology that incorporated the magic. Those were kind of the two things I was looking for. I wanted everything to deal with the storms in some way and be affected by them, and I wanted Stormlight and spren to be integrated into the way that the worldbuilding happened because this was my big worldbuilding epic. So I started along those two lines, and that's where gemhearts came from. That is where-- The [singers] grew naturally out of that. A lot of the creatures and things I looked toward tidal pools because I figured this was kind of a similar sort of thing, an environment that has to deal with a drastic change, a biome that deals with this repeatedly every day.

Pagerunner

The specific word "ralkalest," it appears on multiple worlds. Why did you use that instead of just saying "aluminum"?

Brandon Sanderson

This is mostly us just being cheeky. I like fantasy names for star metal, and I came up with ralkalest because... I go back and forth sometimes about how much I just want to call something what it is in translation, and how much I want to call... In this case, I decided ralkalest sounds cool, it evokes the feeling of the people in world viewing this metal, where they have this view of it as this mythical, magical sort of thing. And simply calling it "aluminum" doesn't convey that in the same way, the mythology associated with it. So I use both, but it's like there's two different languages, and when I'm using "ralkalest," it's more evoking their view of this metal.

Pagerunner

On Sel, Shai says one word, and Raboniel says another word, neither of them are saying aluminum? Neither of them are saying some other word that doesn't exist in English?

Brandon Sanderson

Right, they are both saying, ralkalest would be a transliteration of the actual word in world.

Pagerunner

But which language, which transliteration?

Brandon Sanderson

Oh, which language does ralkalest come from? I think ralkalest is probably original Yolish, but I haven't actually sat down and written that down. But that's what I would say now, that we're looking for kind of a mythological level. And a lot of times if you're gonna get a mythological term that's gonna transfer across worlds, it's gonna go back to what it was called on Yolen, right? Some of the words from Yolen are kind of like the way that we use Old English, or even... Latin's weird in English, so it's not really Latin. Latin and Greek have both been incorporated into scientific terms for things. But ancient terms, maybe more like Hebrew. Sometimes there's just some words that feel mythological. Some Yolish terms, because of that, kind of flow through the cosmere.

Questioner

I wanted to ask you question about your worlds in general. I've read Mistborn and Elantris, and now I'm reading The Way of Kings, and you seem to always associate such important parts of your magic system or your personality system or your dating system with the land, with the geography of wherever they live. Do you have a secret geography degree or...

Brandon Sanderson

No. The reason I do this comes down to a fundamental philosophy I have about epic fantasy. Epic fantasy is the genre of discovery and immersion. Grandpa Tolkien did this by taking a map and putting it in the book. And it wasn't just a map, it was the map they had. So the map becomes an artifact of the world. And I love that. I love the idea that you can have a map that's wrong, that it's not an exact map. I love that you can have a scientific table in the back of the book that represents their understanding and human beings' attempt to organize the world, but is actually flawed because it just represents their attempt at organizing things. And I love these ideas. I love the idea of the land and the artifact and the story all being one. I really--

One of the books that I love, even though the maps aren't the thing, is Dune. Dune is about how your environment shapes your culture, and how your culture in turn interprets your environment. And I love how that works. I think it really influences how great epic fantasy creates its sense of immersion. I love how Watchmen did this with including ephemera in its books. By saying, and creating a form where one issue does this certain thing to enhance the feel of the issue. I love when the form and the shape of the book does the same thing, so this is all kind of my nerdy writer loving-the-shape-of-things-ism that I have, whatever that is.

Questioner

How do you do it? (after saying he likes the characters and societies that Brandon writes)

Brandon Sanderson

Lots of practice. Lots of reading in the genre and loving the genre. A little bit of talent, a lot of loving the genre, and a lot of practice for a long time.

Questioner

I haven’t read Mistborn, but I’ve read this one [Stormlight]. How do you come up with the culture, the society?

Brandon Sanderson

It depends on the book. Stormlight is my best series. If you haven’t tried Emperor’s Soul, it’s the other thing that I think is on Stormlight’s level, but it’s a short. What I’m looking to do with something like Stormlight is to say that the fantasy genre should be the most magical genre, right? Classically, science fiction has done a better job with the worldbuilding, and fantasy has tended to do a better job with things like characters and story. Not that there’s not science fiction that has great, you know, but usually science fiction’s been about the ideas and the interesting settings, but in fantasy we play it safe with the settings and try to do interesting characters. Which I’ve always thought, “Why do we do that? Why do we play it safe with our settings? Why don’t we have really bizarre, fantastical settings?”. So for years, even before I became a published author, I was searching for ones that would have one foot in science fiction. I want to do something magical as an origin, like the highstorm, you know, the physics of the highstorm don’t actually work, but we take it for assumed and then we try to extrapolate a realistic extrapolation of the world from that. That’s just what I’m doing, I’m trying to set up some sort fantastical setting or environment and then let science fiction take over and try and build how it would grow. On the cultures, usually I’m taking things I’ve learned about our culture and I am just trying to [...] a fantastical version. Sometimes when you do that you can say something interesting about human society, removed from the baggage of human society. There was a brief time in the pre-Victorian era where, for women, showing your ankle was more taboo than showing your chest. In fact, they would have pictures painted of them, noblewomen, in a state of what you’d call topless. Not a problem; a little risque, like what wearing a low-cut shirt is now, but no big deal. That’s bizarre to us, because, our society that’s not how it is. But if I put that in, in a fantasy book as a safehand, I can say, look, human beings do bizarre things as far as gender roles, socialization of gender, and what we find attractive. This should be very bizarre to you, but the reactions are normal. That disconnect is what helps build a fantastical society and lets me say a few things about our society, I hope in interesting ways.

Questioner

How do you decide what concepts become Shards?

Brandon Sanderson

It took a little bit of work. I basically brainstormed a bunch of attributes of deity that most people had in their religions and see which ones will adapt well to being these concepts.

Jim

When doing your worldbuilding and plotting work prior to writing do you ever work with maps and soldiers? Do you build out your fights with models etc?

Brandon Sanderson

I don't build any of my action sequences with models, though that's an excellent question. I have a vivid imagination, and generally don't need to place things on a map to create an action sequence. In fact, I think doing so might be dangerous, as I'd be tempted to describe things happening across the action sequence all over, rather than what is immediately happening to the viewpoint character—which is where my focus needs to be.

Often, the only map-based worldbuilding I'll do is a general sketch of a continent or city so I know broadly how everything is related. But then I write the book, and let what has to happen in the book happen—good storytelling trumps cartography. I can always rebuild the map to be accurate once I write the book.

The exception is large-scale battles, like some of those in The Wheel of Time, where I had to involve real warfare strategy and tactics. In those cases, I need to know enough that it's best to draw it out and have a full battle map.

Questioner #1

On Roshar, all the alcohol on Roshar is called wine.

Brandon Sanderson

Yep.

Questioner #1

Some of it is different from what we have on Earth...

Brandon Sanderson

Yep. All of it, actually. Well, not all of it--there's some actual Shin wine that you would call wine.

Questioner #1

So, on Roshar, do they have distillation processes, or do they have some sort of super yeast that can go way higher than the 20% cap?

Brandon Sanderson

A lot of what you're seeing we would just call spirits or liqueurs here. They do have some grain based things and stuff like that. They're not making beer, they're mostly making spirits.

This whole linguistic thing is one of those little clues that I embedded for certain reasons that we won't go into. The reason they call everything wine, the reason that seasons... they call seasons and we're like, "Wait! Those aren't seasons!", and things like that... *with some audience nudging* Chickens is the other big one. This is all there for a specific reason, but the further we get and the better help I get from beta readers... thank the beta readers for the scenes in Oathbringer, where a certain character is getting drunk--they helped me a lot on that. The better information I get from the betas in these things, I write stuff and then they tell me "Ah Brandon, you know nothing about beer!" and I'm like "Well yes, I do not know much about beer!" *laughter* "So tell me..." and the better it gets. I'm trying to give you more and more in the books about that because it is important to specifically several of the characters, and so I wanted to get it right. But most of what they're drinking would be harder than what you might assume.

Questioner #1

So, distilled or brewed?

Brandon Sanderson

Distilled, mostly distilled.

Questioner #2

Are there fermentation spren? *laughter*

Brandon Sanderson

I would say yes. There are probably fermentation spren. Because some of the lower... like some of the colors are actual fruit... like *asking back* what do you do when making wine, you're brewing wine, and *with audience help* pressing wine, and you ferment wine. And so, some of them you would drink and be like, "Okay, this is wine-like. It's not made from grapes, but its wine-like." A lot of the... further on the wheel, you'd drink and you'd be like "Oh, this tastes like Vodka! Why're you calling it wine?" Well that's what their word for alcohol is.

Aurimus_

From a writing/world building perspective, - how much of the maths/science do you do in the background? US hardback copies of Oathbringer had a map with an inworld long/lat system, for example, and Shagomir and Jofwu worked out (with help from Peter) the amount of land on Roshar, and how much of the planet that the continent takes up. What inspired you to go to this depth? Is there anything you decided /not/ to do the maths for and just went with hand waving it away?

Brandon Sanderson

This is a thing I do more and more of as I gain access to the resources for it. (I have a few very large-scale mathematical issues I'm using people smarter than myself to solve.) I did a lot more hand-waving before I had these resources. I'm not horrible at math, but didn't go beyond college calculus, and just don't have the time to get everything right on my own.

It's something I do want to be right, however. It's more of a personal desire than anything else--but I think it's going to be important the further we move toward a science fiction cosmere.

Ashley

Do you spend the most time on your magic systems, or do you find yourself spending equal amounts of time on other aspects of worldbuilding/plot such as religion/culture/language/geography? 

Brandon Sanderson

It really depends on the novel. With some I spend a lot of time on areas that in others I don't spend much time on at all. With every book I spend a serious amount of time on the magic system. That's consistent—it's just something I like to do.

For a given book or series I may spend more time on a given aspect. I'd say the other big aspect that takes a lot of time is characterizing the characters the right way. That takes a lot of work, but I tend to do that during my actual writing period, whereas I spend the planning period focusing on worldbuilding and plot. It's when I actually sit down to write a chapter that I explore who a character is, and so it's really hard to pin down timewise which one I spend more time on. And that varies based on the book.

Questioner

So North America being islands, was that just another bit of color?

Brandon Sanderson

Yeah. That was based around the idea of, I want to do this cool thing. I’m just going to do this cool thing. Peter did not have a chance to look at that and tell me if the physics of that planet work or not. But once we pulled it out of the Cosmere, we didn’t have to worry if the physics do.

Questioner

I wasn’t sure if it was tied to history of the magic or?

Brandon Sanderson

No, I didn’t tie it to the history of the magic. I just said, I’m going to do a small planet and we’re just going to make it a big atoll. You’ll see the same things in Europe if we ever do a map of that, which we probably won’t, but South America you’ll see similar stuff.

Questioner

Did serving your mission in Korea help you in, like, worldbuilding? Kind of give you-- get you out of your own mindset?

Brandon Sanderson

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.

Jaz

When you're writing/planning a new series, how much time would you say you spend on world building? Do you like to have a good sense of the world before you starting writing or do you adapt and evolve the world as you write?

Brandon Sanderson

I do a moderate amount ahead of time, but it depends on the series--most importantly, the length of the book. If I'm writing a shorter work, I can develop more on-the-fly, knowing I can make it all consistent after the fact. If I'm writing in a series, I need much more ahead of time. Developing the world for The Way of Kings took years.

TheBlueShifting

As a writer I love world building. However the detail and culture of your stories are so incredibly thought out. Do you storyboard and document all the family lines, kingdomes, traditions, languages, ect before hand or do these things evolve as you write them?

Brandon Sanderson

It depends on the book and the worldbuilding element in question. I do some of each, and do more for longer series. I've done a lot more work on the languages of Stormlight, for example, than did on something like The Rithmatist, where I outlined the magic in detail but discovery wrote other parts of the setting.

Questioner

How are you able to create so many worlds without them getting repetitive?

Brandon Sanderson

You know, I worry about that a lot. Repeating yourself is like an author's greatest fear. I don't know that there is anything specific I do to keep... other than being aware that that is a danger. I really like creating worlds and I really try to use a little bit of a different inspiration each time, and sometimes my outlines look a little too similar, so I just kinda don't write that book, if that makes sense. Really, what you're seeing is "I'll build four or five different planets or worlds or ideas and only write one of them" these days. Yeah, it is a real concern - it's not something that I even know if I have fixed yet.

Joshua_Patrao

About research: What, if any, research for your novels have you done, and how did you do it?

Brandon Sanderson

The calling of a fiction writer, particularly a fantasy writer, is to know a little bit about a lot of things—just enough to be dangerous, so to speak. I tend to read survey books that talk about history—things that give overviews, such as the history of warfare, or the history of the sword, or navigation. That kind of thing. I would say I do a fair amount of research, but mostly it's an attempt to dump as much into my brain as possible for spawning stories and writing about things intelligently. For Mistborn, I researched canals, eunuchs, and London during the mid 1800's.