San Diego Comic Con 2012

Questioner

Talk about your process of writing; and also about how you creatively approach it.

Brandon Sanderson

Every writer has a different process. There’s as many ways to do this as there are writers in the world. For me, my creative process is that I’m always searching for the ideas that I can connect into a larger story. I feel that a book is more than just one idea. A good book is a collection of ideas; usually a good idea for each character—something that forms the core of their conflict—several good ideas for the setting: something that’s going to drive the economy, something that’s going to drive (for me the magic) the setting—that sort of thing—and then several good plot ideas. These all bounce around in my head—I’ll grab them randomly.

An example of one of these was for Mistborn: For Mistborn, one of the original seeds was, I was watching the Harry Potter movies that had come out, and I was thinking about Lord of the Rings, which I had just reread, and I was thinking, you know, I like the hero’s journey: young, plucky protagonist goes, collects a band of unlikely followers, face the Dark Lord… and I thought “yeah, but those Dark Lords always get, just like, a terrible, raw end of the deal. They’re always beat by some dufusy kid or thing like that,” and I thought “I want to write a book where the Dark Lord wins.”

But that was kind of a downer of a book, as I considered it, a little bit, you know, “you read this book, and then at the end the hero loses,” that’s kind of a downer. So I stuck that in the back of my mind saying “I want to do something with that idea, but it’s going to take me a little while to figure out exactly what I want to do with that idea.” And then I was watching one of my favorite movies from a long time ago—both of these ideas come from movies, many of them don’t but these two did—Sneakers, if any of you have seen it, just a, like an amazingly awesome heist story, and I thought “ya’ know, I haven’t seen a heist story done in fantasy in forever,” little did I know that Scott Lynch was going to release one, like, one year later [The Lies of Locke Lamora].

But nobody had done one, and so I said “I want to do a fantasy heist story.” The two ideas combined together in my head. Alright: world where the Dark Lord won, a hero failed; thousands of years later, a gang of thieves decided to rip the Dark Lord off and kind of try to over thrown him their way, you know, making themselves-- by making themselves rich.

And those ideas combined together. And so a story grows in my mind like little atoms bouncing together and forming a molecule: they’ll stick to each other and make something different. Those two ideas combine to make a better idea, in my opinion, together. And then character ideas I’d been working on stuck to that, and then magic systems I’d actually been working on separately. Allomancy and Feruchemy, two of the magic systems in Mistborn, were actually designed for different worlds, and then I combined them together and they worked really well together, with the metals being a common theme.

I did all of that, and when it comes down to write a book I sit down and I put this all on a page, and then I start filling in holes by brainstorming. “What would go well here, what would go well here, I need more here” [accompanying gestures indicate different “here’s”]. And I fill out my outline that way, and I fill out my “World Guide,” as I call it. I actually just got—the wonderful folks of Camtasia (it’s a software that records screens) sent me a copy of their software so that I can record a short story, and I’ll go—I’ll do the outline, and then I’ll do the story, and then I’ll post it on my website and you can see exactly, you know, step-by-step what happens. Just don’t make too much fun of me when I spell things wrong.

It’s really weird when you’ve got, like, that screen capture going on, you know people are gonna’ be watching this, and you can’t spell a word, and it’s like “I don’t want to go look it up, I can get this right,” it’s like, the writerly version of the guy who refuses to go get directions. So I like try a word like seventeen different ways, and like “Gehhhh okay,” and then Google tells me in like ten seconds. Anyway, that’s your answer and I hope that works for you. Thanks for asking.

Questioner

I’ve noticed in a lot of the books—Mistborn, Warbreaker, even Elantris—that the characters are working so hard towards a goal, and then once they did it or when they get close, all the sudden they realize that it’s doing the complete opposite of what they were expecting, or just was kind of a distraction for them or whatever, and so my question is: Is that just a good way to kind of throw in a plot twist that’s unexpected, or is that a reflection of kind of how you see our lives and what we’re doing, or something else?

Brandon Sanderson

I would say it’s both of those things, certainly. I was going to say as you were saying that “that’s just how life is,” but, plot wise, plot twists are tough, because—okay, how should I say it—bad plot twists are easy, right, you can just do anything, you can be like “alright, and then ninja’s attack.” (Aside: this is a regency romance, I don’t know where those ninjas came from…(That’s actually a story, if you’ve read that)).

Bad plot twists are easy. Good plot twists, I use a phrase that they use in Hollywood, which is “surprising, yet inevitable.” This is an age-old term in Hollywood where you want it, when it happens everyone to be surprised, and yet, as it happens, then they say “oooh, I should have seen that coming.” Those are the best plot twists. You can’t always pull those off—they’re really hard—but when you can they’re great, and that’s what I’m shooting for. I don’t necessarily twist my plot just to twist my plot; I try to find a story that is engaging and interesting and then the further we go along in it, the more you learn about the characters and the world and what’s actually going on and hopefully that reveals a hidden depth.

It’s like life. Everyone that you meet, you’re going to make a snap judgment on them. The longer you know them, the more depth you will see to this person. I want you to have that feeling about a book. You’ll make a snap judgment, “okay, this is an action-adventure story.” You’ll read it more and hopefully you’ll see those levels, of world-building, the hidden depth of the characters, the things you can’t get across in one page; that’s why I like writing big epic fantasies because it gives me a lot of time to explore all that depth. And I do the same thing with the plot. Everything is about more than one thing, and I think that that just makes for interesting stories that I like to read.

Questioner

The Mistborn movie and game: how involved are you in the game, or are you getting to points in each of those that you’ll be able to contribute, or are they just gonna have you take a step back?

Brandon Sanderson

Good question, good question. So far, I have been very involved in both. Now, movies being what movies are, if we sell the movie to a studio, who knows at that point what’ll happen. All bets are off, right. The people I sold it to were big fans—like actually big fans, not the type of big fans in Hollywood that have heard of your name, so they’re a big fan. Like actual, serious legitimate Big Fans. They did six drafts of the screenplay—they were serious about this—and the screenplay is awesome. I have read it, I really like it. It does tweak a few things that make the screenplay really cool: like it focuses more on Vin and Reen, and kind of leads with that relationship a little bit more, stuff like that that works very well cinematically. It’s very faithful to the book and it’s an awesome time.

Who knows what’ll happen: we really want to be able to sell this to a studio. What happened was I sold it to independent producers, and what normally you’re gonna’-- they’re gonna’ have to find funding; that’s what happens with producers unless they’re, you know, George Lucas or something like that. So we’re still shopping it, the screenplay is awesome, so anyone, if you’re uncle is, ya’ know, happens to be Joss Whedon, come talk to me. I’ll find a notebook for you, I promise [reference to Taiwanese Way of Kings notebooks which Brandon brought to Comic-Con].

As for the video game, the video game guys—I’m actually having dinner with them tomorrow night. They’re cool, you know, they’re-- a bunch of guys from Interplay are involved in this, and the games they’ve made so far with their new company are all kind of like, how should we say, “safe money makers,” okay, and the reason they came to me is that they’d built their company, it’s solid, they’ve got the safe money makers—they’re doing like DDR games and things like that—and they said to me “we want to go and make a big-- just cool fantasy story because we’re kind of getting bored of all this stuff”—not that it’s bad, they’re great games, but you know what I mean. And I’m writing the script for it. The dialogue of the game will be mine.

They actually asked what type of game I wanted to make. I told them some games that I thought would work really well, and they have built an engine and everything to do that, and it’s looking really good. For those who are curious, it’s going to be cross-platform, should be fall 2013. It’s going to be an action RPG and kind of—I mean it probably won’t be as open world as this—but Infamous is one of the examples I gave them as something I thought that would really match Mistborn. I don’t think we have the budget to do the just huge open-endedness of something like that, but that’s okay because I can write a really solid story, and it should have gameplay that’s going to be really fun. Demon’s Souls was another one I gave them, kind of on the other side of how a combat system I really like works.

So that’s the story of the game, we’re shooting for RPGish, a little big like Demon’s Souls but more of the kind of freeform gameplay of Infamous.

Questioner

Is the game going to be a standalone and the movie a trilogy?

Brandon Sanderson

The game is going to be a standalone: they’re may be sequels, but right now we’re going to just get one out there, it is set about 250 years after the start of the Final Empire, stars a new character, one who is part of the history of the world, so…

Questioner

Over my life reading science fiction and fantasy, I've noticed the trend of books becoming larger and series becoming longer. As both an author and reader, what do you prefer? What do you think of this trend of large epic fantasy series versus things that are complete in one volume. And also, can we expect anything similar from you, like Elantris?

Brandon Sanderson

Good question. I (like I think most fantasy fans) have both a love/hate relationship with the big series. You don't grow up reading Wheel of Time without wanting to do your own big series, which is where Stormlight Archive came form. At the same time, big series have certain issues to deal with, such as the big plot sprawl. Which we love, but I think we all admit is kind of an issue related to that. Just like if you're gonna take up running marathons, you're going to do certain things to your legs and knees, there are certain costs to having the big epic fantasy. And so, I really do also love the self-contained works. One of my favorite novels of all time is Tigana by Guy Gavriel Kay. Brilliant single-volume epic fantasy; he does in a book things that other authors aren't capable of doing in fifteen books. And I really think that there's... single-volume epic fantasy is our version of short story for overly verbose fantasy writers. I really like doing those.

I do have a few more I want to do. The main one that I want to write as a standalone is called The Silence Divine. I don't know if I'll keep that title, but it's about a world where the magic is based on bacteria and viruses. So they have evolved to try to keep their hosts alive while they're inhabiting them. So what they do is, though they make you sick, they also give you a magical power while you have the disease. So, if you catch the common cold, you can fly. And then you get over it, and you can't anymore. And the story's about a kind of SWAT-team-type city guard, and all the things they set in place. Like, they keep people in quarantine so they can catch a disease if they need it. And they try to keep their immune systems really weak, so they can immediately catch these things when they need them, and a day later be able to use the powers. And it's about someone who invents penicillin. An ecoterrorist who will invent penicillin. It's an epic fantasy single-volume, I think it will be really cool.

Brandon Sanderson

My five-year plan is: Last Wheel of Time book, January. Next Stormlight book, as soon as possible. Hopefully by next year. If I'm really on the ball, I can do that by next year. We'll see. I have it all plotted. It's very intricately plotted. I get to that point, it's actually about the halfway point for me. So, the actual writing could go as quickly as six months. And if that's the case, we could potentially have that next fall.

I have two books in the pipeline that are coming out next year, probably. These are books that I worked on before the Wheel of Time that I didn't have time... during the Wheel of Time, I said, "We can't release these, because I won't have time to support them." Like, I won't be able to work on sequels or anything like that. And so, now that the Wheel of Time is done, I've given the go-ahead for those. First one is called The Rithmatist. Tor is publishing it. It's a middle-grade book about a boy at a magic school, except he doesn't have any magic powers himself, because he's the son of the cleaning lady who gets free tuition. And so, it's a chalkboard-based magic. Basically, kids play magical Starcraft by drawing big circles around themselves in chalk on the floor, and then start creating little things out of chalk to go chew through their opponent's circle, and stuff like that. It's really cool, and he's... Joel, the main character (I named my son Joel, also; I wrote this before I had a son), he has his free tuition, and a murder happens at the school. And he's, like, a super fanboy of the magic systems, so he gets involved, even though he can't do it himself. So, there's that book coming out. It's targeted at thirteen-, fourteen-year-olds, and anyone who likes Brandon magic systems. It's gonna be much more similar to one of my style for epic fantasy than Alcatraz was. Alcatraz was really crazy, if you read them. They're really crazy. They're my humorous kids books.

The other thing I have coming out, Steelheart. Steelheart is a book, I actually sold an option this summer. It is a post-apocalyptic superhero book. It postulates a world where people start getting superpowers in our world, but only evil people get them. It came from the idea of... I was driving down the street, and someone cut me off, and I was like, "You know, he's lucky I'm not a supervillain, because I would just blow his car up right now." And I thought, "What would happen if that were the case? What would happen if there were just certain people who could, like, 'Boom!'" And, you can't throw them in prison, you can't enforce it. So the world just declares these people 'forces of nature.' Laws can't hold them. If you have these powers, you are completely free to do whatever you want. There's no stopping them. World basically crumbles into little fiefdoms ruled by the most powerful ones of these. And the story's about a group of people who secretly, in the underground, hunt down supervillains, research their weaknesses, and assassinate them. Protagonist is an eighteen-year-old boy whose father was killed by Steelheart, one of the most powerful supervillains around. And he hunts down the Reckoners because he thinks he knows what Steelheart's weakness is, and he wants them to assassinate Steelheart. That's coming out.

Those two things are next year. After I write the next Stormlight, I will probably go straight into Stormlight three, because we've waited so long. I might write the second Wax and Wayne book, because I have that one <partially written>. And after that, I would really like to do an Elantris sequel.

Questioner

The Mistborn books, especially the first one. I like the skaa, but I thought that they were very beaten down. The reason I think it was a big success is because, I'm from Venezuela, and it's very *inaudible* to the reason I'm not there right now. And the people there, they're in really crappy circumstances, but they find always a way to do something fun, something happy. If the electricity turns out, everyone gets out candles and we tell horror stories. If the water runs out, they all have a shower in the patio with buckets. So, why didn't you do any kind of thing like that in the Mistborn books with the skaa? Like, Vin mentioned that she had a birthday, but it's never a party or anything.

Brandon Sanderson

That's a good question. And with the Mistborn books, I was specifically trying to create a culture, what would happen if a culture had been beaten down and ruled by the dark enemy of all goodness for a thousand years. And I wanted to take it an order of magnitude worse than anything that could even exist in our world. And because of that, I really wanted the setting to enhance the fact that this isn't just an oppressed culture, this is something incredibly far beyond anything that we could imagine happening in our world. Because of an immortal emperor who just wants you all enslaved and really hates it when people are having a good time. And because of that, I tried to take it as extreme as I could justify to myself in the world. That's the answer; I don't know if that's a good answer for you, but it's the best answer I can give.