Advanced Search

Search in date range:

Search results:

Found 522 entries in 0.193 seconds.

Warbreaker Annotations ()
#1 Copy

Brandon Sanderson

Vasher and Denth's Climax

I wanted to offer Denth the chance for redemption here, though there was no way he was going to let himself take it. His response is honest. He doesn't feel he deserves it. He has done terrible things; to wipe away the memory of them would be cheating. Better to just get it over with.

There's a very good chance that after killing Vasher, Denth would have walked over, picked up Nightblood, and let the sword drain his life away. He wouldn't have been able to live with the guilt.

But that doesn't happen. When I first designed this magic system, I added to it the idea that taking a lot of Breath shocks you and sends you into a small seizure of pleasure. This is lifted from the magic system in Mythwalker, the story from which I drew Siri and Vivenna. I added the component to Awakening not only because it fit, but because I liked giving one more little nod to Mythwalker.

However, the moment I began writing it, I knew that this twist of giving someone Breath, then killing them, would be an awesome way to pull a reversal with the magic. So I built into the story the entire arc of Vasher beating Arsteel mysteriously, and Denth wanting to duel him to prove that he couldn't win a duel.

Denth was right. Vasher cheated.

Skyward Pre-Release AMA ()
#2 Copy


Skyward: With Apocalypse Guard sharing a universe with Reckoners, and Snapshot (originally) being in there too, it looks like you are playing around with the idea of developing a sci-fi shared universe similar to the cosmere, if smaller in scope. Are these non-cosmere shared universes random one-offs that just happen to work together, or do we have something bigger to look forward to in the (distant) future?

Brandon Sanderson

I'm not actively trying to create anything else like the cosmere. More, there are ideas I really like that I've tested out in novellas that I want to expand upon.

The Well of Ascension Annotations ()
#3 Copy

Brandon Sanderson

Chapter Sixteen

Vin in her room

This first scene is a classical Brandon scene–a character studying, thinking, and exploring who they are in their own head. Some people find my narrative style–with the thoughts, the conclusions, and the debates in the head–to be a little slow. I can understand that, even if I don't agree.

I like knowing my characters. A chapter like this really works for that, in my opinion. It seems to me that in too many books, you never really know a character's thoughts, feelings, and logic enough to understand why they do what they do. So, I spend time on those things.

This scene is important for the decisions Vin makes about herself. She is not the type of person to second-guess herself. In a way, she shows some of the very things Tindwyl tries to get across to Elend later in the chapter. Vin encounters a problem, mulls over it, then comes to a firm decision to trust herself.

Oathbringer release party ()
#4 Copy


How do you come up with names that sound awesome?

Brandon Sanderson

It's harder than it sounds, no pun intended... If you wanna know how to name things, find the podcast where we answer that on Writing Excuses, we go into in depth, that'll help you out. But basically I'm looking for, like, lists of baby names from languages that I don't speak, and trying to play with those names until I find something that sounds good.

EuroCon 2016 ()
#5 Copy


I would like to make two questions for you. The first one is, when were you really aware that that was the book, or that was the style that could find a public, an audience?

Brandon Sanderson

Yeah, let me answer this one first. My first five books were very experimental. I wrote two epic fantasies, one comedy, one cyberpunk, and one space opera. I did this so that I could be very sure that what I wanted to do was epic fantasy. I heard a metaphor when I was young for dating which said, "Don't always just date the same flavor of ice cream. Even if you're very sure you love strawberry, date some chocolate, some rocky road, some variety of different ice cream flavors so that you can be sure." I say the same thing about writing. One of my best friends, Dan, first tried only writing epic fantasy, and was having a very hard time being a writer, and then he wrote a horror novel that was super, super creepy, and now he is a famous horror writer because he found his love in that genre. After doing this for five novels, I was sure that epic fantasy was what I wanted to do, and it is no coincidence that book number six was Elantris, the first book of the Cosmere written, and the first book that eventually sold.

General Reddit 2015 ()
#6 Copy

Brandon Sanderson

This is an interesting topic, and though I saw this early, I wanted to wait to post anything because I prefer to let discussions like this happen without author intervention, at least not immediately.

I do I like talking about topics like this, though. Humor is such a curiously subjective thing. There are people who just don't get Pratchett, whom I find the funniest thing ever. Conversely, I don't generally like stand up comedians, and actively dislike some of the comedies that people on reddit love. There are people who tell me that my Mat scenes in WoT are the funniest they've read in the series; there are others who consider them absolute duds.

Humor is more subjective than what we find heroic, tragic, or even beautiful. It also depends a great deal on audience buy-in and mood. This makes comedy one of the trickiest things to do in a book, because some people are just going to hate what you do. My approach has generally been a kind of shotgun blast--I try to include multiple different kinds of humor, stylized to the individual character. That way, if you don't find the humor itself funny, you at least learn what the character finds funny--and learn something about them.

In Stormlight, my personal favorite is the bridge crew humor, as it is distinctly character driven. Syl's humor is a different flavor, based on innocence mixed with sarcasm. Wit is another style entirely, though I usually only let him really go when he meets someone he dislikes strongly. I have to be careful, as he's one of the few characters I allow to stray into the vulgar, and letting him go too far risks letting such things overshadow the rest of the book.

Shallan's humor is based upon regency "women sit in a circle and trade witty comments" humor, of which Jane Austen was a master. Much of what the OP said in his post is correct--Shallan's fault is that she over-extends. She uses the humor as a coping mechanism, and to her, it doesn't matter if it's actually funny so long as she's stretching toward something more lighthearted than her terrible past. She tries very hard to prove herself. And she fails. Often.

However, her type of "wit" is to exemplify what Vorin lighteyed women consider to be amusing or diverting. And there are people who genuinely find that kind of thing to be a blast--though Shallan isn't exactly the best at it yet. (She's not terrible either, mind you. If you don't smile at some of the things she says, it's likely this isn't your type of humor, which is just fine. Hopefully, there will be other things in the books that make you smile.)

Though, that said, I'd love to read passages from other fantasy novels that people on reddit find to be actually laugh-out-loud funny. I know which ones I personally like, but it would be useful for me to see what you're liking. Feel free to PM them to me or to post them here.

JordanCon 2016 ()
#8 Copy


I wanted to know what your stance on gods were, if you were trying-- If you had a meta-message about God.

Brandon Sanderson

If I what?


If you had a meta-message about God.

Brandon Sanderson

I do not really. What I'm fascinated by ends up in the books and I'm fascinated by religion. But even in something like The Stormlight Archive, I don't want there necessarily even be a definitive answer? There are god... lowercase "g" gods. Whether there is a capital "G" God is still, in my opinion, left to the interpretation of various people. I'm not necessarily trying to say anything specific, I'm trying to say what the different characters say. Does that make sense? Jasnah doesn't speak my belief, but neither does Dalinar. But they speak their belief, and I try to respect their belief the best I can. So it's more like trying to be true to the different characters.

General Reddit 2018 ()
#9 Copy


Frustrated with the editing/beta readers for not noticing Brandon leaving out a character.

The character I'm talking about is Rlain. An entire part of the book was spent with every single member of Bridge Four talking about how Rlain wasn't really a part of things, and even more so Rlain himself in his POV chapter. And then nothing! We get a conclusion to the whole buildup of Bridge Four, but Rlain is nowhere mentioned in the last half of the book. Nevermind that we've all spent an entire book (and the three years since WoR) wondering if Rlain will become a squire, and nevermind that we get an answer to whether a Parshman can become Radiant in the first place. We just get nothing! No resolution.

Peter Ahlstrom

Everyone noticed this. I noticed it even before the beta read started. Brandon was well aware, and this was all intentional. I'll bet you can think of some reasons for it.

The Well of Ascension Annotations ()
#10 Copy

Brandon Sanderson

Chapter Thirty-Two

Regarding the line to the effect of: "There are a hundred different courts with a hundred different smaller Lord Rulers" in the Final Empire.

One of the problems created by my writing style is that it's hard to give a real feeling of scope to a kingdom or landscape. When you read something by Robert Jordan, for instance, you get to see a whole world full of peoples and places, since the characters travel all about. I prefer to set my stories in one or two locations, usually a large city, since this lets me focus on the political wrangling, and it also lets me give a strong sense of place to that area.

It was impossible in these books–particularly the first book–to give a sense of how large and varied the Final Empire was. I threw in Spook's street slang and Sazed's cultural references to try to hint at the different ethnicity, but these were only that–hints.

I don't regret the way that I write. However, I am aware of the issues involved in the choices I make. I think that's what you have to do in a book–you make trade offs, choosing to focus on some things and not others.

The Hero of Ages Annotations ()
#11 Copy

Brandon Sanderson

Chapter Forty-Eight

The Lord Ruler's Final Message

This plaque from the Lord Ruler was very difficult to write. Originally it was much shorter, but I expanded it during the last draft because I felt it was just too useless. Even still, it doesn't say much. And that's the problem.

I was always intending the Lord Ruler's final plate to contain no answers. It works into my themes for this series—this was the "quest" book playing off the epic fantasy ideal of the powerful object that must be discovered and used to fight the evil. Except that this time, I wanted them to get to the place they'd been questing toward and find it empty, with no answers from the Lord Ruler. I felt this would only heighten the sense of hopelessness the characters are feeling in trying to fight Ruin.

The problem is, rereading this plate I realize that I've done exactly what I wanted—but that it's also a really, really big letdown. I hate letting down readers. It feels like breaking promises. After consideration I think this is still the best thing to do, but I wish I'd found another way to deal with this.

Note that the circle with a dot here is completely lost on Vin. The size of the circle in relation to the text around it, and some numerical clues scribbled around the perimeter of the circle, are indications of the size of a scale map it should be placed upon. If placed the right way, the dot will point directly at the Pits of Hathsin.

Vin's awesome, but she's barely got a basic education. A complex mathematical puzzle like that one is completely lost on her. If Elend had had the time to study the plate, he might have figured out where it was pointing. There wasn't time, however.

The Lord Ruler did leave a very important clue on this plate. However, I feel that obscure clues like this are deciphered far too often in books like this one. I think realistically if you're going to leave a clue like that, chances are good that it will end up getting missed or misunderstood. Which is exactly what happened here.

Skyward Pre-Release AMA ()
#12 Copy


How much work, time, care and difficulty goes into constructing each book's ketek in the Stormlight Archive and sticking every phrase into the different parts of the book?

Brandon Sanderson

More than I expected, that's for sure. Not being a poet, it takes a lot of work for me to get something that I feel isn't embarrassing for the keteks.

Warbreaker Annotations ()
#13 Copy

Brandon Sanderson

Vivenna Suits Up and Leaves

Vivenna is in a similar position to Siri here in these last chapters. Things are getting so dangerous that both women (well, and Lightsong too) are rather out of their elements. However, I knew that I had to have them both involved. It would be incredibly frustrating to read an entire book focused on two characters, then have them get pushed around for the entire climax.

So during my outlining, I made certain to build the story in such a way that they could be useful, even if they're very much out of their elements. I feel this makes the story more tense in a lot of ways, since they're forced to deal with things for which they're completely unprepared.

Here, we have Vivenna sorting through her own emotions and finding enough determination left to go out and do something. This is an important moment for her, even though she doesn't realize it. This is the moment where she takes her first real step toward becoming her new self.

Firefight Chicago signing ()
#14 Copy


Do you ever write like two versions of a scene in a book and if you do how do you decide which--

Brandon Sanderson

Do I ever do two scenes in a book--


Like two versions--

Brandon Sanderson

Two versions of the same scene. I do it quite frequently. Every book there will be a couple times. Usually what happens is I'm writing a scene and I'm not pleased with it and so I put it aside and I write it again the next day. And usually letting me subconscious work on it means I end up fixing it. About one out of ten times I start writing it and I realize "It was right the first way, why am I writing something new?" And then I just go back to the book, and it wasn't that the scene was bad it's just I had a bad day. And sometimes you do, no matter what you write you are going to think it stinks. How do I decide? It's very instinctive, I've never had one like "These are both equally good". Always I know one of them is not working. In fact the best way to get over writer's block, I find, is to write the scene anyway, have anything you can think of happen--even if it doesn't make sense in your story--so that you get the scene out, and then attack it again the next day after you have had time to think about it.

The Hero of Ages Annotations ()
#15 Copy

Brandon Sanderson

Homicidal Hat Trick

My editor tried very hard to get me to cut the "homicidal hat trick" line. Not because it wasn't clever, but because he felt it was anachronistic, as the phrase is commonly a metaphor for some quite modern sports. However, I was able to prove via Wikipedia (which is infallible) that the term was used as early as the nineteenth century and didn't always refer to sports, but to three wins in a row in even simple games of chance. So, grudgingly, he let me keep it.

I love the line because of the way that little section harks back to the old Elend. He's still in there, hidden behind the emperor-at-war exterior. The old Elend could be clever and awkward at the same time, just like he is here when he tries to make a point to Vin but comes dangerously close to an insult instead. That's the same guy as the one who would, while standing on the balcony at a party, compliment a lady and then immediately turn back to his book and ignore her.

And, on that note, I believe that I warned you about the coming ball scenes. We're going to have another nostalgia chapter fairly soon, and it's one of my favorite chapters in the entire series.

Warbreaker Annotations ()
#16 Copy

Brandon Sanderson

Vivenna Meets with the Slumlords

When I write a scene like this, I am never quite certain how much time I want to spend distinguishing the side characters who make an appearance. (Another scene like this is the one where Lightsong plays the game with the three other gods.) Here, we're introduced to three different slumlords. They all have distinct personalities and different ways of looking at how Vivenna can help them. However, how much time do I spend explaining them and making them have an impact? It's a tough line to walk. I don't want to bog the scene down and spend a lot of time on characters you'll never see again, but I also don't want the scene to feel ambiguous or lacking precision because you can't imagine the slumlords.

I suspect that most readers won't care about telling the difference between the three, so I don't dwell on it—but I try to give hints that will help those who want to visualize the scene exactly.

Warbreaker Annotations ()
#19 Copy

Brandon Sanderson

Vivenna Returns to a Ransacked Home

I'm a little annoyed at myself that it took so long to introduce Jewels. Here we are in chapter seventeen and she still hasn't shown up. She barely gets a mention here. Unfortunately, I knew that her arrival would present problems for Vivenna, so I felt the need to put it off until Viv was attached enough to the mercenaries that she'd be able to overlook a certain "pet" that Tonk Fah talked about earlier.

Firefight Chicago signing ()
#20 Copy


You know how usually you read a good book and it will change your perspective on some aspect of life, do you ever finish writing a book yourself and-- From your own writings do you ever "Ah I've never..."

Brandon Sanderson

It's usually the research I do. Like when I'm like "I need to get in the mindset of this type of person" and I go read about it. I see the world in a different way after I become immersed in that.


So what character have you written that was the hardest to imagine or get into?

Brandon Sanderson

Jasnah was very hard originally, and that took a lot of research into the mindset of people who think differently from myself. In The Wheel of Time books Aviendha and Tuon are both very different cultures so getting into those.


How was it writing Mat? Was it pretty easy or--

Brandon Sanderson

No, Mat blindsided me. Mat I thought would be easy because Perrin and Rand were and I grew up with Mat, Perrin, and Rand, right? But the thing is Mat is a really hard character to write, meaning actual-- you look at him, he says one thing, he does a second thing, but he thinks a third thing. And so there is a lot of contrast to him and I just started writing him naturally and I wasn't getting all of that contrast because I was like "Oh I know who Mat is. Mat's my--" But he was saying the things that he never said, if that makes sense? I got his actions right but I flipped what he said and what he thought. It was actually really hard to get him down.


You mean how he would say that he was going to avoid trouble and then run straight into it?

Brandon Sanderson

Yes, it's like "I'm going to avoid trouble", he runs into trouble, and he's thinking all the way about something completely separate, and then something else leaves his mouth.

General Reddit 2017 ()
#21 Copy

Brandon Sanderson

I'm a little late to this, because of travel/booksigning woes, but I did want to jump in and offer a few things here. As Lyn said above, the AMA isn't often going to be able to dig into details about what was in the original draft--that's the sort of thing we like to keep a little closer to the chest. I'm okay with revealing things like that in the abstract, but having a wholesale "let's reveal plot points in early drafts of books without context" reveal seems like it might be dangerous.

So here, off the top of my head, are some of the things that I changed in the book related to Beta Reader comments. These topics are "open" for discussion--meaning you can ask Betas for more specifics on them, if you feel like it. These were all things I changed specifically because of Beta interaction.

Adolin's viewpoints were added to Part One. As was a quick run-down on Renarin's powers, and what he was learning to do with them.

The romantic angle between Shallan/Adolin/Kaladin was tweaked as I more and more referenced the idea that two different personalities of Shallan's were in love with two different people. IE--moving it further away from a love triangle, and instead showing more clearly that that Shallan was splitting further into multiple people, with different life goals.

This wasn't coming across in the early drafts, though I sometimes coulen't quite tell which responses were knee jerk "Twilight ruined love triangles! Don't do them!" comments and which were "I'm not convinced these four people--counting Shallan as two--are actually working in relationships." (I'll note that I, personally, am very pleased with how this part turned out in the books--but the betas certainly helped me get there. I'd guess that this is one of the more contentious matters of fan discussion about the book. The point of bringing it up here isn't to discredit anyone's feelings about the actual arc, just point out how the betas helped me find the balance I wanted.)

I got a LOT of help from people for writing Shallan's getting drunk scenes.

Slightly beefed up Yelig-nar's part in the plot, as what he did wasn't coming into play enough--and originally (I can't remember if this was a beta thing or an alpha thing) he wasn't as involved in the Amaram/Kaladin fight.

I revised part four heavily, moving the scene where Kaladin runs into our "so very beautiful" friend from Elantris (and the subsequent dip into the Spiritual Realm) from happening in the market to happening in the Lighthouse. Originally, the Lighthouse was run by Cryptics. (Which was a lot of fun.) However, I needed stronger establishment of Kaladin's motivations earlier in Part Four, which was going kind of off-the-rails a little.

Lots more conversation between characters who weren't talking enough in Part Four. (Most specifically Azure.)

There are hundreds more, but those are a few that might be of interest--and I need to be up in three hours to get on a train to go do more signings. Jet lag sure is fun!

The Book Smugglers Rithmatist Interview ()
#22 Copy

The Book Smugglers

What can your fans expect from The Rithmatist, as compared to your other adult novels? Was it easier or harder to write for a YA audience (or was there anything different about the writing process for this particular book)?

Brandon Sanderson

That's an excellent question! I wouldn't say it's either easier or harder. For me, a story grows in my mind till I just can't ignore it anymore, and I have to write it. That certainly happened with The Rithmatist.

As for what I did differently, there are a couple things. When I work on a teen book, I usually try to focus the viewpoints. That's one of the big distinctions for me between an epic fantasy that has teen characters—like the Mistborn books—and a book that I've specifically written for a teen audience. I usually focus on a single character—maybe two—so the narrative is a bit more streamlined.

The other big difference here is that I really wanted to write something with a sense of fantasy whimsy to it. I say whimsical, and it might be the right term, and yet it's not. For example, the magic system is one of the most rigorous and specific that I've written. I hope readers will find it as interesting as I do—with the defensive circles and the different types of lines.

With my epic fantasy books like The Way of Kings, for example, I looked at the size of the planet, its gravitation, its oxygen content—all the sorts of things that allow me to worldbuild with some scientific rigor. I consciously didn't want to do that with The Rithmatist. I replaced the United States with the United Isles, turning the country into an archipelago. I shrank the planet, and I did really weird things to the history of the world because I thought it would be fun. For example, I let Korea conquer the world, because I'm a fan of Korean history.

It's not like I'm sitting down and saying, "What is plausible?" I'm sitting down and saying, "What is awesome?" Then I write a story in which that awesomeness can shine. I let myself do that in my YA works more than in my adult works to give them a different feel. Writing this way allows me to exercise different muscles.

I believe that children and teens are better able to mode shift. When they pick up a book, they don't necessarily feel that it has to fit in one of the genre boxes. As an author, that allows you to do some interesting things in teen that are harder to do within an adult genre. 

Shadows of Self Newcastle UK signing ()
#24 Copy


In the second Stormlight Archive book... Wit... the Shattered Plains party, where he's introducing all the guests, and just the sheer list of insults. Was that an easy thing to do, and you've got books and books of--

Brandon Sanderson

Man it is so hard to come up with good insults because it's so hard to use one that Winston Churchill hasn't used already. *laughter* But I try to channel the best insult comics and people like that. Being witty in writing is actually the hardest part, but the fortunate thing is that I can take two hours to come up with a line that he's supposed to snap off in a few minutes or a few seconds, and that's how we can imitate being smarter than we are. I totally have to do that in my books.

It's interesting, I got an insight into really smart people. I was roommates with a person who won a ton of money on Jeopardy. Ken Jennings for any of you guys that watch Jeopardy. He won like 80 times in a row, right? I'm serious. He won 80 times in a row, or something like 78-- and before he did that, he was my roommate, and I knew him, and he-- the big difference between him and other people is that speed, that speed of making the connection and snapping it off. You say something and he comes with a comeback, just like that, and then you think  about it and you're like "oh, that was really clever". That's what a lot of these people are, it's not the only type of intelligence by far, but it's one of the ones that this sort of discussion with Wit-- it's what we look for. So it's kind of a marker for somebody that's a little bit too smart for their own good.

Skyward Denver signing ()
#26 Copy


Callsigns. Did you come up with those yourself?

Brandon Sanderson

I did. The callsigns in the back of all the beta readers, they came up with their own. But I came up with all the callsigns. One of the things I was trying to do, I tried to make the callsigns start with the same sound as their real names. And that was what be guidance was so that it would be easier to keep everyone straight.

The Alloy of Law Annotations ()
#28 Copy

Brandon Sanderson

Chapter Sixteen

Wayne pretends to be an old woman

These Wayne scenes really did turn out well. It was very fun to write him putting on new personalities and mindsets as he put on new hats.

In a lot of ways, this is a much more standard book than I've released before. My biggest worry is that people go into it expecting it to be something other than what it is.

And what is it? A fun adventure story, told as a detective narrative. I've said that I consider this book more pulp than others I've done. What does that mean? Well, I just wanted to write a fun page-turner that is a quick read from start to finish, and is enjoyable along the way. It makes me wonder if people will call this unambitious. Perhaps that's just the nervous side of me, the artist that worries about what people will say about him, no matter what.

Still, I think it's a legitimate complaint—on the surface. I don't expect readers to understand what's going on in the writer's mind. It's not their job. I've delivered one type of writing in the past, so they expect I will continue to do so.

The thing is, there are lots of different forms of storytelling, and I want to learn how to do many of them. A pulp adventure story doesn't seem less ambitious to me than a deep epic like The Way of Kings. It's not about ambition. Yes, The Alloy of Law is far less deep than Kings—but then Alloy is trying to do different things. Sometimes, an artist wants to paint a deep, realistic painting on a canvas. And sometimes he wants to do a political cartoon sketch. They achieve different functions, but they're both forms of art. I want to be able to do both.

In a way, The Alloy of Law is a reaction to what I'd been doing before. I realize not everyone is going to like the more plodding pace of something like Kings, with lots of characters doing lots of different things. I suspect people will complain that working on The Wheel of Time has influenced me. (I don't think that's a bad thing, but some will.)

Certainly I have been influenced. At least in one style of my writing. However, The Alloy of Law is—in part—for those who liked the pacing and action of Mistborn and were less interested in the epic scope.

I simply hope people read the book, accept it for what it is, and enjoy it.

General Reddit 2018 ()
#29 Copy


So once upon a time Brandon was going to write Szeth as the flashback character for book three, but then Brandon changed his mind, decided to write Dalinar's flashback chapters to see how that would go, and then after writing them made book 3 Dalinar's book instead. Here is a quote from the first Stormlight Book 3 Update post Brandon made in this subreddit

As someone else has posted, I have finished the rough draft of Dalinar's flashbacks for Stormlight Three. I consider the experiment of writing his flashbacks for this book, instead of waiting for book five, to be a success. Therefore, I'm proceeding with the Dalinar/Szeth flip.

The reasoning for this is something I can't discuss in detail until the book is released. I'd be happy to revisit this topic once you all have a chance to read the novel.

Now that the book has been out for 6 months or so, I'd love to hear Brandon discuss the reasoning behind this. Personally, I have a very tough time imagining how this book would have played out if Szeth had been the flashback character. Clearly we wouldn't have had to Dalinar/Odium confrontation if we didn't have Dalinar's flashbacks, as those were integral to the overall storyline. I'd love to hear what the plot of this book was originally supposed to be when Szeth was going to have the flashbacks. Does anyone know the answers to this, or am I going to have to hope Brandon sees this post and decides to answer more than a RAFO? :)

Brandon Sanderson

Hmm. This is going to be difficult to answer without straying into spoilers for books four and five. It's also hard to say how the books would have played out if I'd swapped these back.

The Dalinar/Odium confrontation would still have happened, as that was something I'd been planning for a while. But how would things have played out? Hard to say, as an outline is only a rough guide--even for someone like me. It's when you get to the nitty gritty of the story that things come together.

Having finished the book, it's hard for me to imagine going another direction--as I made the decisions I did because I felt they were the ones that were right for the story. And a lot has changed over the years as I've worked on the details. (Kaladin's arc from book two, for example, was originally plotted for book three--parallel to Szeth and his flashbacks, which share some similarities.)

Dalinar's flashbacks would work very well for book five for reasons I can't explain yet--but it became clear to me that I needed them for this book, despite the outline looking at the Szeth/Kaladin dynamic. (Which was upended anyway when I moved Kaladin's second character arc to book two.)

So...that's a whole lot of not saying much, I'm afraid. I can answer a lot more once book five is out.


Does it mean that we shouldn't expect any explanations or clues about what happened with Dalinar at the end of Oathbringer before book 5?

Ask just to know if we'll know more in book 4 or we'll have to wait a bit longer.To avoid false expectations:)

Brandon Sanderson

There will be explanations and clues, but I would anticipate more Dalinar in book 5 than in book 4.

Skyward Chicago signing ()
#30 Copy


At this point, so far out from Oathbringer, what are the best and hardest things about having spent a lot of time writing about mental illnesses?

Brandon Sanderson

One of the reasons why I approached Stormlight the way I did is, during the intervening years, during those seven years, I got to know very deeply some people who we would call non-psychonormative, I think is a good way to say it. And I began to see that the various different ways we perceive ourselves and the various different ways we perceive our own mental processes influence a lot of how we act and who we are. And I also noticed, speaking to them, that a lot of my friends were a little--and there's no problem if you like these--but they're a little tired of every book that represented their mental illness in a story was all about the mental illness. That the book was only just how to cope with mental illness, which are great stories. But they're like, if you look at the statistics, psychonormative is not the norm. In fact, it seems to be this mythical person that doesn't exist, in that the way that all of us think is different, and in some of us it can be really impairing for our lives. And in some of us, the same thing that's impairing to our lives defines who we are. You guys want a really good book about this, Speed of Dark by Elizabeth Moon is a fantastic look at this.

But this all became really interesting to me. When I was looking at my characters, one of the things I noticed, for instance, I kind of used the pop science version of autism in Elantris. The more I actually got to know people with autism, the more I saw that the Rain Man version was a very extreme representation of something that is something a lot of people deal with, the way they see the world, and I started thinking, "You know, if I'm gonna create real characters in my books, this is something I need to be looking at." And it wasn't that I set out to say, "I'm going to write a book about lots of people with mental illnesses. I said, "I'm going to write a book about a lot of people who are like the people I know. And some of them think in different ways than others." And again, in some of them, that's a thing that they don't want to think that way. And it can be really impairing. But it's not that the story-- The Stormlight Archive is not about mental illness. The Stormlight Archive is about a lot of people that I wanted to try to make as real as I could, and that I also wanted to approach some things that haven't been approached, I thought, in fantasy fiction.

What are some of the advantages? Well, I think the story has been very eye-opening to me. It's hard to talk about advantages and disadvantages in light of this. What are the "disadvantages"? I am walking through a minefield, and I have blown my foot off multiple times. And I think this is part of that whole failure thing as a writer. If I hadn't perhaps done it poorly in some of my books, I wouldn't have had the chance to talk to people who are like, "I really appreciate the book and what you're trying. Here's how, if you ever did this again, you might approach making it feel more realistic." And that made me a better person, not just a better writer, and so in some ways that disadvantage is the advantage. But that is the thing. I have blown my foot off on several landmines. And I will probably continue to do so.

Warbreaker Annotations ()
#31 Copy

Brandon Sanderson

Character Shifts

This is a fun chapter, formatwise. It looks simple—we've got two alternating sequences with Siri and Vivenna. But what's going on here is that I'm trying to pull the first of many reversals in this book.

A reversal is more than just a plot twist—it's a swap. (Or at least that's how I define it in my head.) Just like Elantris's substructure was that of the chapter triads, Warbreaker's substructure is that of reversals. People change places or do 180-degree turns. This presented a challenge to me, as I had to work hard to make such often-abrupt changes well foreshadowed and rational. That's rather difficult to pull off. Most twists take characters in a slightly new direction; spinning them around completely required a lot more groundwork.

If you've read other annotations of mine, you'll probably know that I love twists—but I love them only in that I love to make them work. A good twist has to be rational and unexpected at the same time. Pulling off that balance is one of the great pleasures in writing.

In this chapter, we have the beginnings of the first big reversal in this book. It's more gradual—not an abrupt one-eighty, but a slow and purposeful one-eighty. But the seeds are here, even in this early chapter. If you look at it, we have this:

Scene One: Siri acts just like we expect Siri to. Blustering and emotional.

Scene Two: Vivenna acts just like we expect Vivenna to. Calm, rational, in control, and willing to do as she is told.

Scene Three: Siri grows calm, considers her situation with more care, and acts a little bit like a queen should in deciding to send her soldiers back.

Scene Three: Vivenna is very bothered by what is happening and acts just a little bit like Siri would—she decides upon a plan that is impetuous.

I'm very excited by the underlying structure of the chapter, even though I'm aware that most people probably wouldn't be. I'm just a screwy author type. I like how the changes are very subtle, and yet already there are hints at the way the characters are heading in life.

I like reversals and tone changes, but I still think that readers deserve to have an understanding of what the major plots and arcs for a character will be. There will be twists, but I don't want to just twist needlessly or endlessly. The characters are the most important part of the story, and one thing I rarely twist (particularly late in a book) is a character's personal arc. I keep personal arcs steady, as they're the foundation of a reader's attachment to the book.

Starsight Release Party ()
#32 Copy


What character have you written that you felt is most inspired by your own personality?

Brandon Sanderson

My mom says it's Alcatraz, my middle grade series, is most like me so I trust her. Other than that, it's hard for me to say. You have to go to my friends and things. I feel like ever character's part of me and every character's not. Stephen Leeds, from the Legion series, has a lot of writer-ish stuff in it. Particularly the last of the three if you've ever read that one. That was kind of a very personal book and it was getting into kind of the way... So maybe Stephen Leeds as a middle manager. I feel like a person who's controlling all of these characters. Rather than this person having the adventures, I'm keeping them organized.

Idaho Falls signing ()
#33 Copy


I was intrigued ever since I saw your State of the Sanderson about Death Without Pizza.

Brandon Sanderson

It's good. I'm one chapter, or no I guess it's like three chapters. I'm one day's work away from finishing my revision, to then kick it back to Peter [Orullian]. I'm really, really excited how it's turning out. He knows his metal culture really well, and one of the tricks has been integrating that without making it feel jokey and things like that. I'm very pleased with how it's going.


What kind of metal influences were you going for?

Brandon Sanderson

...Peter really likes the lyrical metal like that, like Dreamtheater. I don't know my subgenres very well, but Apocalyptica gets a mention, that's one I knew, Dragonforce gets a mention, I knew them. But I guess Dragonforce is the same subgenre. My job is worldbuilding and plot, and his job is character voice and making sure all of that works. I'm fascinated by it all.


So is he more in the editing process, or is he an official co-writer?

Brandon Sanderson

He's a co-writer! I came up with the plot and the worldbuilding, I sent it to him, he wrote the whole first draft. Now I'm doing the next draft and then I'm kicking it back to him to do another pass and make sure the voice still matches, and then we'll take it out to publishers.


What's the character's name?

Brandon Sanderson

The main character's name is Jack Solomon.

17th Shard Forum Q&A ()
#34 Copy


How did you portray Jasnah's atheism so well? As a staunch atheist myself, I think you did an absolutely brilliant job. Honestly, It made me happy that a religious person was trying to understand my mindset. Anyway, who did you ask to get such accurate ideas of atheist thought?

Brandon Sanderson

I found some really good atheist forums. Not the 'hate on religion' type atheist forums, but the kind with some serious depth. People asking one another about morality, talking about how they felt when people reacted to them being an atheist, and expressing their philosophy. I gained a great deal of respect for them during these readings.

From there, I went and chatted with some atheists I know to gauge if I had a good handle on things. It was important that I get this right, as it's different enough from my own worldview that if it went wrong, it would have gone VERY wrong and I'd have ended up with something insulting.

Warbreaker Annotations ()
#35 Copy

Brandon Sanderson

Chapter Eleven

Siri Visits the God King's Chamber Again

To be honest, in a perfect world, I'd probably slow this down just a tad. I'd insert another chapter from Siri's viewpoint with her going to the chambers, the God King watching her, and her being subservient. I wouldn't do this chapter, where she explodes at him, until their third scene together.

But that would only happen in a book where I don't have quite so much going on with other viewpoints. My books are already a tad on the long side, as far as the booksellers are concerned. They'd like it if epic fantasy novels shrank down to about 120,000 words (instead of my average of 240,000).

If I'd really thought it mattered, I'd have put the extra scene in. The real problem is that since Siri is only one of four major viewpoints, I needed to be careful. If this book were only about her, I could have filled her chapters with more political intrigue and added a lot of subplots. That would have made a slower pacing with the God King work. However, I decided not to go that direction with the book, so I needed instead to make sure the pacing was quicker on the main plot she's involved in.

The Hero of Ages Annotations ()
#36 Copy

Brandon Sanderson

Chapter Fifty-Eight - Part One

Spacing Out the Climaxes

I tried something new in this book. I've been criticized—rightly—in the past for cramming too much into my endings. A good, fast-paced ending is great, but when you layer climax on top of climax, a little of it gets lost. I've been trying, therefore, to plot things so that we end up with the important climaxes spaced more evenly. My hope is to not lose any of the tension or drama, but to have the climaxes be more focused by not letting them interfere as much with each other.

We're seeing this here with Spook. This chapter is, essentially, the climax of his scenes. We'll have some smaller chapters involving him later in the book, but his storyline pretty much ends here (save for one loose end). Hopefully, by having this explosive chapter here, I can save the last third of the book to deal with the other characters, making the pacing a little more even.

Orem signing ()
#37 Copy


How frustrating is it that you have to wait so long and do so many things first before you can tell the Hoid story.

Brandon Sanderson

How frustrating is it that I have to wait so long to do things before I do the Hoid story, which is one of the big ones that I want to tell. It's not as frustrating as you think. Because, if you sat me down and said "You can only write one of these, Hoid story or Stormlight." I would pick Stormlight every time. Stormlight is a-- in my opinion, Stormlight is a stronger story over all. And Hoid's really interesting, and it's going to be a really cool thing for me to write. But I'm more excited for Stormlight 8, 9 and 10 than I am-- Though I'll be very excited when I get to write the Hoid ones because they're going to be cool things.

Like Stormlight is the thing that I plotted out to be the big opus. It's more frustrated that there's only one of me, despite what the internet says.  I don't got any clones, or any Sanderbots to do all this.  So I have more ideas than I can write books about. That's kind of the-- The biggest frustrating in my life is that I can only do so much. But that's been a frustration since I was unpublished. I always had more stories I wanted to write than I could.  So it's all about story triage for me.

One thing I've learned to do is to write novellas or work on graphic novels. Because the actual word count that I need for a novella like Emperor's Soul or for a graphic novel like White Sand, is a fraction of what a big novel takes. And so I get this cool thing with a graphic novel where I can write something I just finished an outline and script for a new graphic novel, that we're not going to release until after White Sand's done. But now that White Sand 3 is moving along and the writing portion of that is done, and we're just working on the art, I came up with something else. And instead of taking 18 months like a Stormlight book takes, it took me, like, a month. And so that's a way I can get a story ready and can release it to people without having to spend 18 months on something.

The Hero of Ages Annotations ()
#38 Copy

Brandon Sanderson

Chapter Forty-Five

"Reen" is Ruin

Did you really think I'd bring Reen back?

Well, maybe you did. It's all right if you did; we in the fiction world have kind of acclimatized people to strange resurrections of long-dead characters. I'd guess it's due to one of two things. Either 1) The author is so attached to the fallen character that he/she wants to have them return or 2) The author wants to do something completely unexpected, so he/she returns to life a character the reader isn't expecting.

Unfortunately, both answers are based on emotions outside of what is commonly good for the actual plotting of the story. Do this enough, and readers are required to stretch their ability to suspend disbelief. This sort of practice is part of what earns genre fiction something of a bad reputation among the literary elite. (How can there be tension for a character if the reader knows that death doesn't mean anything?)

The trick with saying this is, of course, that I'm as guilty of this as anyone. I've got two books in the works where I'm planning deaths and resurrections—though, of course, I'm building in these elements as plot points of the setting and worldbuilding.

Beyond that, there are lots of instances where this sort of thing is appropriate in fiction, and where it works. After all, one of the reasons to write fantasy is so that you can deal with themes like this that wouldn't work in mainstream fiction. I just worry that we, as a genre, are too lazy with ideas like this. If we push this too far, we'll end up where the comic book world is—in a place where death is completely meaningless.

The Hero of Ages Annotations ()
#39 Copy

Brandon Sanderson

Chapter Twenty-Nine

Narrative Clues about Spook's Condition

The scene here where Spook goes into the building without a torch, and Sazed stands outside waiting, is a direct parallel of a scene in book two where Marsh does the same thing to Sazed. Both Spook and Marsh can see in ways Sazed cannot, and both tend to forget others aren't as talented in that area.

That's not the only similarity. I intended Spook's glasses with cloth wrapped around them to be a reference to how an Inquisitor looks with spikes through the eyes. Both these parallels are designed to be big clues about what's happening to Spook in this book.

Barnes and Noble Book Club Q&A ()
#40 Copy


If you were going to write a novel in a genre other than scifi/fantasy which genre do you think that you would write in?

Brandon Sanderson

Hmm... Perhaps a historical. Something I could really sink my teeth into. I could also see myself writing a mystery or a thriller.

The thing is, unless I'm under some kind of restriction, I know that any of those three would probably end up having fantasy or sf elements. It's just how I think.

Stormlight Three Update #3 ()
#41 Copy


How do you manage your time to keep writing productively, during all that time on the road? Do you find yourself thinking about the WIP while signing book after book after book?

Brandon Sanderson

It's hard, and I'm not that productive, honestly. That's why I generally work on some new project, like a novella, instead of the main project. It's tiring enough on the road to write; writing something that is intense and requires a lot of working with other pieces in the story is even harder.

I can't think about the WIP while signing--otherwise I'll miss questions people ask. The last thing I want is for someone to wait four hours to meet me, then feel like they got brushed off. If I'm going to do the signings, I need to be mentally there for the signings.

I do get a lot of thinking done in the mornings before flying out to my next location for the day.

The Hero of Ages Annotations ()
#42 Copy

Brandon Sanderson

Chapter Eighty-One - Part One


I wasn't certain how I wanted to treat prophecy in this book. On one hand, it's a staple of fantasy books—and my goal in this series was to take the fantasy staples and turn them upon their heads in a way that hadn't been done before. That meant I needed to include and use them, and so I did. In book two, the prophecies turned out to be false, and Ruin used them to trick Vin into releasing him.

However, the fact that he twisted the prophecies left me with the implication that they had once been true. What does that mean, though? If you look at prophecies in our own religions, very few of them are used like fantasy prophecies. In fantasy novels, it seems like prophecies are intentionally obscure, abstract things intended to confuse people and act as some kind of twisted guidebook for the hero to live his life. Yet, in modern religion—specifically Judaism and Christianity—prophecy is more general. Prophecy in these religions means things like "in the end, the faithful will win." They're general or symbolic. Of more use to the population as a whole, rather than applying to one distinct individual.

Sazed and Tindwyl have a great discussion about this in book two. Regardless, I make use of the prophecies here in the final book. As far as I'm concerned, they were given to the original Terris people by Preservation as a means of maintaining hope. They were a promise—a hero will come; that hero will protect you. Have faith.

Firefight Atlanta signing ()
#43 Copy


I had another question, did you ever read books by other authors to get your ideas?

Brandon Sanderson

Yes I read a lot of books by other authors and what I usually do is I will read something and if they did it really well, I don't want to do anything like it. But if I think they messed it up then I'm like "Oh I need to do a story that does this the right way" Does that make sense? It is one of the most fun parts of being a writer. You can watch a movie and go "Ah they totally did this the wrong way... and then do it yourself, the way you want it to be.

The Hero of Ages Annotations ()
#44 Copy

Brandon Sanderson

Chapter Seventy-Three

Cinematic Writing

I sometimes wonder just how much writers from my era have been influenced by the visual media of entertainment we've experienced. How do I imagine things differently because of my childhood watching television and movies? What have the improvements in special affects done for my ability to visualize things I have not seen? How does my pacing, plotting, and description reflect my background and my exposure to media?

I look at a chapter like this one, and it feels extremely cinematic to me. Not that I'm some great master of the cinematic form, but rather that I'm so familiar with that media—as are many of us—that I am drawn to it instinctively.

The quick flashes from viewpoint to viewpoint—TenSoon, Breeze, Elend—showing what was going on, followed by a quick cut of Vin mid-action . . . it just feels right to me to do it this way.

Warbreaker Annotations ()
#45 Copy

Brandon Sanderson

The contact Vasher mentions in this scene is Bluefingers. The little scribe is working very hard to push the court toward war, and he thinks that if Vasher sneaks into the hidden tunnels, he might do something dangerous like kill a few guards. More than that, Bluefingers is hoping that by giving away that tidbit of information, he might be able to get Vasher to trust him, and therefore get the chance to manipulate him toward fomenting the war.

At this point, Vasher has contacted Bluefingers pretending that he's interested in the politics of the court and the war. Bluefingers inaccurately assumes—from intelligence he's gathered, from what Denth has said, and from some faint awareness of who Vasher might be—that Vasher wants to drive Hallandren back to war with Idris. At the very least, Bluefingers assumes that Vasher will want to kill and destroy, since death and destruction have often been his wake.

And so, Bluefingers sells to Vasher a little tidbit that he assumes is innocent (the presence of the tunnels). This gives Vasher an unexpected edge. He now knows that it's possible to get to the Lifeless garrison, and into the court itself, through ways nobody knows about. That makes him suspect that something greater might be going on, perhaps a coup of some sort.

I apologize for only showing little pieces of this in the book. But, to be honest, I don't think it's that interesting—mostly because everybody is so wrong about what they're assuming. And the assumptions are rational enough that I think it would be confusing in the book. Vasher is wrong about the coup, and Bluefingers is wrong about Vasher's motives. Denth only cares about getting a chance to punish Vasher for the death of his sister.

Firefight Chicago signing ()
#46 Copy


When it comes to major, pivotal plot twists. Moments where the reader goes "WOAH" or "Oh my god". Are those something you write as starting point or ending point?

Brandon Sanderson

What I do is I plot my outline backward, starting with those scenes. And then I write the book forward to those scenes. The reason I can do it that way is because in the plot I don't need to know the characters' emotional state, I can just come up with "This is going to be a great scene". But I have to have been with the characters through the journey to write their reaction to the scene. So I can't actually write it early.

/r/Fantasy_Bookclub Alloy of Law Q&A ()
#47 Copy


I just wanted to say ... I like how the main characters are named Wax and Wayne.

Brandon Sanderson

Thanks. In all honesty, I was hesitant about the pun. I liked it, on one hand, but also worried that it was too goofy. By the time I tried changing the character names, however, they were too strongly cemented in my head, so changing them proved too difficult and I just left them as-is.

Firefight Houston signing ()
#48 Copy


Have you ever tried to write, not a novel, but for a comic or try a script to pitch yourself for an original story?

Brandon Sanderson

Have I ever tried doing some writing that is not novels? So, screenwriting or comic strip or things like that? Yeah, I've done a little bit of everything. Not with the intent that I'm going to pitch myself, but just so I can be familiar with it. And so I have written a screenplay, never gonna let anyone see it. It was so that I would know what it takes to write a screenplay so I can advise better on mine, because I don't intend to do it. I mean, the difference between writing novels and writing screenplays is probably as different as playing basketball and playing baseball. And we know how that worked out for Michael Jordan. He was decent at the second one, but it takes a lot of work to get good at something like this, and I would rather have really great screenwriters be writing my things. But I did want to know enough about the process to be able to talk intelligently.

Arcanum Unbounded Chicago signing ()
#49 Copy


When you put together different magic systems, do you just have a file of those that "this is goiing to work for this one"?

Brandon Sanderson

I have a file of magic systems, characters, and settings, and plots. Usually I review it for a while, periodically I mean, and certain connections are made. I build on those in my head, then eventually stick them back in if it doesn't end up working. But ocasionally it's like-- Like Shadows for Silence in the Forests of Hell, I wanted to write a book about a bounty hunter woman who runs an inn and kills the people who come to the inn. I developed that all without the magic system or anything like that, and then said what world would this fit on? Would it fit on any of them? Do I need to make a new story? And I'm like "This worked really well on Threnody" so I put it there and put the magic in. Usually it's the other way around, I've got the world and things and I need some characters to plug in.

The Well of Ascension Annotations ()
#50 Copy

Brandon Sanderson

Chapter Fifty-Three

Sazed Defends the Gate

The Sazed fights scenes interest me because of how much of a contrast they are to the Vin fights. Sazed's scenes are so brutal–strength against strength, blunt fighter against blunt fighter. Vin fights with grace. Sazed is just trying to stay alive.

I worked a lot on the plotting here of making Sazed's gate hold so long. When I planned the siege of Luthadel, I knew that I would need a very deep, character driven set of scenes with Sazed. It was the only way I felt I could add something new to this plotting sequence. The heroes defending their city during a siege has been done before. (One notable example being in The Lord of the Rings.) I was worried that I would be bored of writing these scenes, and so I decided to head that off by focusing in on Sazed here, who I thought would approach a battle like this in a new way.

I don't know what readers thought, but I found myself drawn very much into writing the scenes, which is a good sign. They up going longer than I'd anticipated, which is another good sign. Something about the contrast of the quiet religious scholar in the middle of such a terrible war was fascinating to me.

So fascinating, actually, that I forgot to write Ham into any of the scenes in these chapters. I didn't remember him until about chapter fifty-five. It was then that I remembered that the best warrior in the group had disappeared for the entire fight. So, I wrote him in, and added him to this chapter where Sazed gets to Breeze.

You'd be surprised at how often writers do things like this, forgetting a character. It's a tough call sometimes to keep track of everyone who is involved in various parts of a complex plot. Don't even get me started on the challenge of keeping track of everyone while writing in the Wheel of Time world.