So, a Radiant's blade. When it takes other forms, does it take on any different properties? So, like, if Kaladin beat someone with the butt of his Sylspear, would it still do something in regards to the soul?
Would he still hit the soul? That is theoretically possible to make happen. It requires a lot of work. That is theoretically possible.
So, the first [question] is whether or not a Shard can be healed after it has been [Splintered]?
That is actually a RAFO. That's been asked before.
How much do you plot books? How much do you plan out what happens before you start writing?
I am a plotter. I am very naturally-- I do a lot of extensive plotting. So, I would say I have, like, 90% of it before I start most books, thought I knock out like, 10% or 20% while I'm writing and change it if something better comes along.
Do you go chapter by chapter, or do you kinda just--
It's more like an outline of, like, "Here's my goal. And here are ways to achieve it." I do a whole lecture on it in the BYU lectures, if you're interested, that are on YouTube.
Is there a limit to what the spren can become, like we've seen them become a blade or a spear or a shield, can they become, like-- I've heard hints of a bow and arrow. Can they become a sword and a shield or just one main thing?
Um, it is more expansive than people guess it is, but it is limited.
How do you come up with names that sound awesome?
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.
So, how much time-- personal reading time to do you spend on different types of things: research versus classic versus other fantasy type--
I would say, boy-- most of my reading is fantasy. My reading for other things is eclectic; it's like, when I find something I'm interested in. I would say, of that, it's like, half just reading whatever I feel like reading and then taking notes, and half reading for research. But, I do a lot of audio books, and I do a lot of podcasts, I can do them while I'm signing books, and things. So, some of my reading recently has been like, Hardcore History, which is a podcast. Stuff like that.
So, how many hours do you actually spend. Obviously, when you write, and you're signing, I understand that.
Always, when I'm signing, I try to listen to, like, a book, or something like that. And then, I try to get in, like, an hour every night. I don't always get it, but that's what I try to do.
Does anybody every ask you to, like, write them? Like, people ask someone to draw them, but does anybody ask you to write them?
Yeah, an artist asked me to write something for them. Yeah, I've actually had some artists say, "What if I painted a picture, and then you wrote a story for it." Which I think would be a really cool idea, we just have to wait for the right time to do that.
So Lift, she used a Shardfork. If you could use a regular item, and it be a Shard item, what would choose?
Shardpen, obviously!
So now that Lopen has his arm, are there any good two-armed Herdazian jokes?
He's working on them. In a scene, you will see him working on two-armed Herdazian jokes.
Favorite Herald?
Taln.
Which is your favorite of the Ten Fools, and why?
Uh-- I don't know. I honestly don't know.
Can you give me a name of one of them, then?
That I haven't named yet? Those are in the notes, I have to look those things up. I don't know. We're gonna do a Ten Fools painting for the next one, maybe. We were gonna do it for this one. I'm not sure who my favorite is. I'd have to sit and think about it, perhaps more time than we have right now. It's going to depend on Isaac's sketches of them and things like that. Maybe, uh, Jezrien's fool. Probably Jezrien's fool.
What's the name of that one?
I can't remember. Like I said, I have 'em in a list. I have to go look at the notes and look them up every time. I don't use them, like, I just write--
Not like the Heralds, that you're using all the time. They're just the Ten Fools.
Right, I just use, even when I'm writing, I'm like "Jezrien's Fool," and then I go look up the name of it.
Warning, Evgeni. I'm really considering doing a backpedal on savants. The more i think about them, the less I'm not liking how my current course has them being treated in upcoming books. I think it deviates too far from my original vision.
Hey, I wouldn't normally contact you directly like this, but given that you thought it important enough to reach out and let me know you might change how savants work, I figured you probably wouldn't be too upset by this message. I replied to your Facebook comment, asking if you could clarify a little bit which aspects of savantism you are thinking of keeping and/or cutting. I don't need an essay on the topic (though you know I'd love one!), just some details on what we can consider canon for theories, and what we should be careful around.
Evgeni,
So here's the problem. The more I dig into savants in the later outlines, the more I feel that I'm in a dangerous area--in that I'm disobeying their original intention. (Which is that using the power so much that it permeates your soul can be dangerous, a kind of uncontrolled version of a spren bond.)
And so, I don't want to let myself just start making people savants right and left. It needs to be a specific thing. Wax is the troubling one, as I have him burning so much steel that he's well on his way, but isn't showing any side effects. If I'm going to give him savant-like abilities, he needs savant-like consequences.
That's the danger, just falling back on savanthood to do some of the things I want, so often that it undermines the actual point and purpose of them in the cosmere lore.
So if I backpedal, it will be to contain this and point myself the right way, sharply curtailing my desire to make people savants without their savanthood being an intrinsic part of their story and conflict in life. (Like it was for Spook, and is for Soulcasting savants on Roshar.)
Feel free to share this.
Okay, so - if you do decide to go this route, I see the story implications (larger focus on consequences, less easy to get to the point where a character can be considered a savant). What I am not sure about is the potential for a mechanical change. Would a backpedal on your side cause a conflict with information you've shared with us, in or out of your books? Are you saying that it's possible that Wax won't be considered a savant (if you can't squeeze a good ramifications plot for him that doesn't contradict the apparent lack of consequences so far, for example)?
I haven't decided on anything yet. It's mostly consequences for the future--just a kind of, "be aware I'm not 100% pleased with how Wax turned out, re: savanthood and Allomantic resonance."
The idea of resonance is that two powers, combined, meld kind of into one single power. This is a manifestation of the way Shards combine. Wax was intended as a savant of the two melded powers. But without consequences in his plot, I'm not confident that I'll continue in the same vein for future books.
Also, in another fun note, Ruin didn't know about the horseshoes trick Vin used until he saw her do it. During a thousand years of Allomancy, she was the first to figure out how to do that. Clever girl.
Marsh was there in the village Elend attacked a few chapters back, by the way. That is where he went after Luthadel; he took charge of a group of koloss and began leading them around to destroy cities. When Elend came to get the koloss, he was commanded to hold onto them for a time—and make it tough for Elend—but then to give them up and let them go.
He was the nearest Inquisitor to Fadrex, which is why he's the one who showed up to claim the nonexistent atium.
Hey, speaking of art. Was the mathematical inspiration behind Roshar's map your idea, or Brandon's?
Brandon's.
Ah, that might be a bummer. I was hoping to figure out the exact formula used to generate it so I can do some animation stuff.
Sorry...I'm afraid I don't know the formula....
17th Shard user Treamayne made an interesting observation re: Surge glyphs - Can you comment? :3
No comment yet on this specifically, tho I'll respond to something in that thread regarding names and "screw yous" within glyphs.
Readers are trying to pronounce glyphs by reading them. Glyphs aren't read. They're memorized. Sounds might be found in glyphs.
Glyphs have evolved from the early days. Just like the Chinese character for "tree" doesn't look like a tree anymore.
Alethi glyphs are recognized by overall shape, not by the shapes/sounds that might be found within.
For example, the Bridge 4 glyph is still recognizable even if the component shapes are changed.
Hope this helps!
So let's see if I got it. The "kholin" glyphpair could, given enough time, no longer look like "khokh" & "linil"...
... but still be recognizable as "kholin" due to its overall shape?
That is correct. More ancient glyphs will have slowly morphed away from the original sounds found inside.
Come on, guys, there are major major reasons Roshar can't possibly be a moon and one of the moons a gas giant. Think about it.
Nobody ever remarks on how one of the "moons" takes up a quarter of the visible sky?
Each moon is in the sky only once per day and moves across the sky in a couple to a few hours. What does that tell us about their orbits?
Could a gas giant be far enough away to look like a small moon, yet have this rapid of an apparent motion? (The answer is NO.)
That they're really fast/close, I would think. Perhaps unusually so...
You may not be aware, but Mars's moon Phobos orbits in less than 8 hours, and gets less than 6,000 km from Mars's surface.
Curses! Foiled again by SCIENCE!!!
Okay, so the orbits aren't magically augmented.
Still, that leaves us some information. The three moons are likely captured asteroids, then, rather than having split off from Roshar during its formation, Luna-style. Three captured asteroids at the same time in relatively stable, seemingly very close orbits... Anything significant in that, science people?
I expect the moons were put in their current orbits artificially, but by whom or what I do not know. On astronomical terms, these are not stable orbits, but astronomical terms means millions of years. A few thousand or even a few hundred thousand years are no problem.
By the way, I minored in astronomy while at the university, for expressly science fictional purposes.
Were the moons also artificially created, or were they originally formed naturally?
I don't know.
Hey, I am curious - have you and the rest of Team Sanderson figured out what the Dawnchant looks like in writing?
There has been some discussion on this. :)
His coyness is rubbing off on you :) I wasn't trying to be sneaky though, legitimately just wanted to know if you guys have an idea :)
I have some ideas. Nothing canon yet. :)
Speaking of The Scar, all the other names on the map refer to a specific planet, right? Roshar, Sel, Nalthis, etc. The scar, as far as know, is more a region, yet it uses the same typography as the planets. What's up with that?
Same typography because when I used other fonts, it looked way out of place. If there were more labels on this map, I would've used italics probably for this feature.
Some stars are yellow, while others are red - is that significant?
Yes. There are other colors in there too.
Is the relative positioning of the constellations' images significant in any way? For example, the Shardbearer is pointing his blade at the dragon/serpent/monster of the Scar, while Nalthian lady looks like she is blowing Sel's fire out. Do we need to be paying attention to those?
This is more compositional than anything else. Though I wouldn't discount their positions entirely.
Are all the constellations symbolic in nature? If so, can you fill in any gaps in my understanding of them (or expand on them, point out cool things I may have missed, etc)? I've got:
All correct so far.
Taldain - a tree? Because of the importance of water on the world?
A one tree. This is a symbolic reference to the Shard that resides on that world. The Coppermind says this: "Khriss writes that Bavadin supports a policy of strict isolationism for Taldain."
First of the Sun - a sailor? Because of how the natives live, traveling between the isles?
A fisherman, actually. He's throwing his net out among the stars.
Sel - the lamp makes a lot more sense now, thanks! I don't think anyone had pointed out that Sel is inside the flame, not the lamp - but the lamp is so much dominant in the image, it was easy to focus on it :)
Just repeating what I mentioned before in case I ever make this into a blog post. Sel's constellation is symbolic (as is the constellation Threnody is found in). As for the lamp, notice that Sel is not exactly part of the lamp. It's part of the flame. How does Aon Dor work? An Elantrian creates an opening for it to pour through and affect the world. Think of the flame as a symbol for the Dor. Does that make sense?
Scadrial - why is it absent? And is it really absent, or there but just not labeled (for whatever reason)?
Scadrial's there. It's just part of the constellation I've been calling the Giver. Some worlds are closer together than others, so there wasn't room to give each world its own constellation.
I had been thinking about the Cosmere constellations map, and why certain constellations are what they are. Some look pretty obvious to me - of course the one that includes Roshar would be a Shardbearer, and of course the one with Nalthis would be somebody exhaling or giving Breath. But others? Threnody is maybe a part of a grieving woman, so that could kind of make sense, but Sel being featured in a lamp?!
So I asked Brandon, and he said the constellations were all you. He also encouraged me to convince you to write an essay for the website about this map, but I wanted to see if you could answer some questions about this map.
Is this alright with you?
Thanks for the email. I'll try to answer some of your questions, and you're right, an essay about the map on the website might eventually be the way to go. (Got to find time to write it.) The constellations weren't really all me. I had several discussions with Brandon, who made many suggestions. Maybe he forgets how much input he had. :) Unless he means the actual lines of the constellations. Those are purely me.
Sel's constellation is symbolic (as is the constellation Threnody is found in). As for the lamp, notice that Sel is not exactly part of the lamp. It's part of the flame. How does Aon Dor work? An Elantrian creates an opening for it to pour through and affect the world. Think of the flame as a symbol for the Dor. Does that make sense?
Send away with your questions. Maybe they'll help direct how I should handle the essay. :)
Do the constellations have actual names you can share with us?
Clockwise from Threnody: the Mourner, the Dragon, the Fisherman, the Giver, the Lamp, the Knight, and the One Tree. The names are a bit generic, mostly because they are working names I used to refer to the different constellations during the process of painting the piece. It should be noted that the people from the spot in the Cosmere where the night sky does look like this would not see these pictures in the constellations nor give them these names. The pictures the patron saw in the stars here are based on their own observations and knowledge about the Cosmere as a whole. The locals would see entirely different pictures in their stars, for those who can even see the stars from their vantage.
One tidbit I should mention is that the lamp used to be a constellation called the Lover and was a man receiving breath from the Giver. I dropped it mostly because it's reference to Devotion wasn't working visually. Another thing to note: Not all the stars on this chart are physically within the Cosmere. Some are in the parts of Space beyond the Cosmere.
What perspective is this constellation map seen/drawn from? Somebody from an earlier signing in this tour said they spoke with you about this, and you mentioned Silverlight, but not exactly... I got the impression that your reply wasn't transcribed verbatim Can you address the perspective issue here? We now know that Silverlight is in the Cognitive Realm (where the stars don't necessarily match their physical arrangement, if they are visible at all), so if you worried about accidentally revealing that earlier, it's no longer an issue.
The map was created to reside in Silverlight and represents a partial view of the night sky from a point we have not yet revealed. So, no, this is not a view of the night sky from Silverlight. This is a mural painted for a patron whose travels have taken them far far afield.
Also, as a note, Alendi was an Allomancer, as the epigraph notes here. He had to be—he heard the pulsing at the Well of Ascension when nobody else could. "Ah," you might say, "but I thought that you said Allomancy didn't exist before those beads." That isn't 100% true. The legends say that Allomancy came with the Deepness. Alendi was one of the very first Allomancers, and he gained his powers as the mists began to cover the world.
That's important. ;)
Because, of course, he was Snapped by the mists, like is happening to people in this book.
The Rosharan year is 1.10 Earth years. The Rosharan hour is a little bit shorter.
Let me guess: it's 50 minutes.
E: no, just checked on calculator, apparently it's 57.816 minutes.
But it's 50 Rosharan minutes.
So would it be possible to use Steelrunning + compounding to travel FTL?
No, it would not. You could get close, though.
Kind of like Zemo's Paradox, than? You keep halving the distance, never quite making it?
*gleam in his eye* Trying to crack Allomatic FTL?
*guilty* Maybe.
You can't.
I don't know, there are alot of good theories out there.
It involves Allomantic abilities which we don't know about yet.
OK guys, help me out on this.
Let's take a bubble where time is sped up inside, maybe to 10x, maybe to 100x. I'm thinking that if there is no light source inside the bubble, but all light comes from the area outside the bubble, to an observer outside the bubble all light that goes inside and gets redshifted will get blueshifted back the same amount when it exits the bubble. So the outside observer won't see a color change at all. (I'm ignoring refraction for the purposes of this post, but someone else may elucidate.)
The person inside the bubble will see a redshift of all light coming into the bubble--but will also see far fewer photons per second, so the world will go dim or even black.
At low time-speedups, the person in the bubble will see UV light shifted into the visible range, so will start effectively seeing in UV. At very fast speeds he can see X rays or even gamma rays. (I don't know from Brandon what the max speedup is.)
If the person inside the bubble turns on a flashlight, this will be shifted into the UV or X-ray range when it leaves the bubble. You can fry everyone around you with deadly radiation this way.
When you have a bubble that slows time, the opposite happens. People inside can see in infrared or radio waves. And if they go slow enough, visible light from the outside is shifted into the X-ray or gamma-ray range and the person inside gets fried by radiation. If they turn on a flashlight, people outside get cooked.
Can anyone point out flaws in this analysis? Does anyone have magical suggestions for why any of these things wouldn't happen?
For practical reasons it looks like there will need to be a lot of handwavium burned.
Consider Stormlight is ten books but it's two sets of five, so first five will come to an ending and then the next five will take place in the world about ten years later.
Your Korean phrase in Alcatraz, what was that?
"I don't speak Korean," I believe is what it says.
We're moving in the story, timewise, much more quickly here than we were at the beginning of the book. Often there will be a week or so between chapters. It's kind of hard to tell in my books, as I don't talk very often about time passing. That's not one of my things; my books tend to feel very compressed, as if they happen over the course of a few days. However, each of the Mistborn books has covered many months—the first one covered almost an entire year. The nature of the Final Empire, where it tends to have very mild winters, makes the changing of seasons rough to follow.
Can hemalurgy be used to steal hemalurgically granted powers?
Yes, technically.
If Raoden had had an erection when he was taken by the Shaod, would he keep it post-transformation?
Some functions of the body (like muscles + blood flow) don't get stopped :)
Did the earthquake have anything to do with the grounds sentience?
Nothing specifically to do with the ground's sentience. Otherwise... RAFO!
What does "Aagal" mean and do Aagal Uch and Aagal Nod ever come in to the Mistborn plot?
RAFO!
How long does it take for someone who has had four iron spikes in to become a koloss, how fast are the changes?
Very quickly!
I asked for some new info about Renarin, and this is what Brandon wrote to me!
To Alyx, Renarin sees a spren that nobody else does.
[Can Lift] get Stormlight from spheres like normal or if it's just from food for her.
She can only get it from food.
Which [is it] related to her boon or her curse?
RAFO.
Hello Mr. Sanderson, I have a question about bendalloy bubbles—what happens to a human that is partially in and partially out of the bubble when it's placed? Does the difference in the flow of time kill him?
And, if yes, is the boundary of active bendalloy bubble effectively impassable for living organisms? I get that bullets shot out of the bubble randomly change directions, but what happens to, let's say, a person trying to jump out of the bubble (or, given enough time, a person trying to get inside)?
Any living thing touching the bubble is affected by the bubble.
Rescuing Taravangian's granddaughter
So, Taravangian set this entire thing up. He wanted to see Jasnah's Soulcaster in action. He had the resources to get through that rock, if he'd wanted to—but he wanted to see Jasnah work, and he wanted to have an opportunity to interact with her. His eyes have been on her for a while.
Chapter Five
One of the problems with The Way of Kings Prime was it had too many characters competing for the limelight. It lacked focus. One could argue that the published The Way of Kings is kind of all over the place itself—indeed, a lot of the plot threads don't connect until the end. (And then only in some limited ways.)
In the published book, I feel it works. Yes, the book is expansive, but we really only have two locations for our plot: the Shattered Plains and Kharbranth. In Prime, Jasnah and Taln both had major sections of the plot, in addition to Kaladin, Dalinar, Szeth, and the character Shallan replaced. It was just too much, and the thing never pulled together.
Fixing this was one of my main goals for revising the book. I started The Way of Kings over from scratch during 2009, between writing The Gathering Storm and Towers of Midnight. I knew I needed a tighter narrative.
At the end, I moved Jasnah and Taln out of the book for the most part. They will have stories later in the series, but for this book, Jasnah isn't a viewpoint character.
I'll dig into Soulcasting at another time.
Parting Thoughts
What are my parting thoughts on this series? Well, honestly, they're "Damn, that turned out well."
It was my first series. I began the first book the year I sold Elantris, back before I'd met my wife. I'm writing these annotations in December of 2007, with my first child being about a month old. Mistborn has dominated my life for some four years.
I love these characters. I am thrilled with how the world turned out. And the plot . . . well, it just all worked out even better than I'd hoped. I worry about being able to top this—but then, I always worry about that.
A book is a window into the author's soul, and there was a lot of soul-searching in these books. My thoughts and fears about leadership, religion, relationships, and the nature of truth all show up in the interactions of the characters.
These books are part of me. But now they're part of you too. Thank you so much for reading.
Brandon Sanderson
The Mistborn Project
May 2003-December 2007(For now.)
Series Wrap-Up
First Trilogy
Well, that's my first trilogy. I think I improved quite a bit as I wrote these books, and hopefully this ending will satisfy my readers. The inevitable question is going to be "Will there be more Mistborn books?" The answer is "Probably." However, know a few things.
First off, the next series—if I do it—will not include Vin or Elend. They're dead. That's just the way it is. Sorry.
Sazed might make an appearance. He is God, after all. TenSoon is still around. (Sazed stuck the spikes back into him and the other kandra.) Marsh may or may not make an appearance. (I haven't decided if he will survive or not.)
Spook, Ham, and Breeze probably won't make an appearance, though, as I would plan to write the next series some five hundred years after the events in this trilogy. (Remember, TenSoon—as a kandra—is immortal. Marsh is also functionally immortal, as he's both a Feruchemist and an Allomancer, and can combine the powers to reverse his aging. Assuming he has enough atium left from that batch he stole to keep it up for a while, and assuming he managed to grab some cover before the world ended.)
However, this won't be for some time. I've got other projects I want to do, not the least of which is Warbreaker and (probably) its sequel. After that, I want to try a longer series, maybe a five- or six-book one. [Editor's note: Brandon was referring to the Dragonsteel series, which he's now put off in favor of the Stormlight Archive, book one of which, The Way of Kings, comes out on August 31, 2010.]
We shall see.
Epilogue
The End
This epilogue ties up a few loose ends, then sets up a couple of others. Much like most of my endings. At least now you know how Vin Snapped. Many people have wondered this, so I thought I should include it somewhere in the book.
Here, with Vin and Elend in the flowers, is where I could have made them survive, if I'd wanted to. I could have patched everything up and given the "happy" ending a lot of people wanted. But . . . well, I just couldn't. It didn't feel right. Anyway, I agree with Sazed. They deserve to rest. I added the line about him having spoken with them to soften the blow of their deaths somewhat and give confirmation of a pleasant afterlife for them.
This chapter is a reminiscence, in a way. Since book one I've promised a return to green plants and a blue sky, and it was always my intention to make good on that promise. I think it's sometimes hard for people to remember that in the Final Empire, the plants were brown and the sky red. I don't think that matters so much, as I believe Spook and Breeze's reactions—and the descriptions—in this chapter work to provide the proper impact.
Flowers have been another thread, along with the little picture that Kelsier carried around in book one. I'm glad I was able to weave that back in, though it was an afterthought. (As was adding it into this book from the early chapters with Vin and Sazed together.)
That first line of Sazed's book was not an afterthought. It can be found as the very first epigraph of this book. I am, unfortunately, the Hero of Ages.
Yes, Sazed. You are.
A Couple of Small Notes
Yes, Demoux survives, as I promised to Micah. Also, Ruin—like Preservation—dropped a body when he died. This is important, but I can't give you a decent explanation of why that is at the moment.
Chapter Eighty-Two
Sazed Ascendant
The answer is yes, I planned it from the beginning. And I didn't.
It's difficult for me, even as the author, to trace back when and where the various threads of a story began. I wrote all three of these books in a row, and to me, they're one long story. Yes, I chose three distinct segments of time over the five-year span, and separated out those chunks. But it's all part of a whole, which is why it was so important for me to be able to write this series as one singular book.
So, if I go back to my very first notes, will it include a discussion of Sazed becoming God and using the stories in his metalminds as guidelines for remaking the world? No, I don't think it's there. Just like Kelsier wasn't originally planning to create a rebellion through his sacrifice, just like Vin wasn't even originally female.
Things change and grow with a book as you write it. However, let me say that I knew early in the series that I wanted Sazed to end up as the Hero of Ages and ascend with the power. I felt it was the only way to deal with the world ending and have it start anew. Plus, he's the only one who really deserved it, as he was the only one of the characters who ever cared much about religion.
I kept this in mind while revising the first book, as I'd finished the rough draft of book three by that time. I planned how to use his religions and feature them in the novels in a way that would show off their finer qualities.
In a way, this is my compromise. As I've said, I don't believe in the "spokes on the wheel" theory. Not every religion can be true, if only because they—logically—disagree on so many points. But every one of them can teach things that are true. This is something I actually believe. And, like many of my beliefs, it ended up influencing how I wrote this book.
Chapter Eighty-One - Part Four
Vin's Sacrifice
Killing Elend and leaving Vin alive would have been, in my opinion, more tragic than what happened. As I establish in a little bit, there is an afterlife in this cosmology. Better for them both to die and to be together.
There were only two ways that Ruin could have died in this book. The first would be to have him give up his life as Preservation did. I don't think that was very likely.
The second way is the one I've been subtly pushing the reader toward from the very beginning of the novel. Ruin and Preservation are opposites. Equal, particularly while Ruin doesn't have access to the chunk of his power trapped in the atium. The only way, then, for him to be killed would be for Preservation to smash his power against that of Ruin and destroy both of them. It's a form of balance. Either you block and stop each other, warding each other away, or you overlap and destroy one another.
This was the role Preservation chose Vin to play all those years ago. As she surmises, he needed someone to do what he could not. He had been too corrupted by his power, and could not destroy Ruin. If Vin had held the power for millennia as Preservation had before her, then she too would have lost the ability to destroy Ruin.
It needed to be someone fresh to the power, still separate enough from it to be able to kill Ruin. Preservation knew that if he did not sacrifice himself and let someone else take up the power, then Ruin would eventually win and the world would end. Imprisoning Ruin was always only intended to be a delaying tactic.
The delay was so that the power could find a new person to bear it. Someone who could do what Preservation could not.
Chapter Eighty-One - Part Three
Elend's Death
I rewrote Elend's death scene a number of times. In the first draft, it happened much more quickly. He and Marsh met, Elend's atium ran out, and Marsh cut him down. Elend always got his "we've won" line, but Human wasn't getting viewpoints, so we didn't cut there. Nor did we have Vin fuel Elend's metals or have him burn duralumin and atium at the same time.
I just felt he needed more. Part of this was due to the reactions of alpha readers, and part of it was due to my own desire to make his last scene more dramatic. I wanted there to be a closeness between him and Vin at the end, and I also had too many people asking what would happen if you burned duralumin and atium at the same time to ignore that possibility.
So, I rewrote several times, eventually landing at this version. As for why I killed him . . . well, for the same reason that I kill any character in one of my books. It just felt like the right thing to do. It's hard to explain when we get down to specifics like this. On one hand, the rational side of me can explain that there need to be casualties to make victory worth something, and Vin needed to lose Elend so that she'd be willing to do what she had to in order to kill Ruin. Logic says that this book was about Vin and Elend defeating Ruin no matter what the cost to themselves, and allowing them to give their lives for the victory was noble and completed their character arcs.
Emotion, however, is what drove me—not logic. It just felt like the right thing to do. It was the right ending for the book. Now, I could have chosen a different ending. I know that I could have. It would have felt contrived to me, and would have lacked bite. Yet perhaps readers would have liked it better. I honestly don't know what doing this (killing both of my main characters) will do to my readership and if people will still want to buy my books after this. The founder and president of Tor Books, I know, would have preferred that I didn't kill my two main characters.
But in the end, I went with what I knew was the better ending. By doing this, at the very least I've earned something. From now on, readers will know that nobody is safe in my books—and that will create tension, will make the novels feel more real. (Note that I didn't do this because I wanted to make readers feel that way. It's just a side effect.)
Either way, this is where this book was pushing from the beginning. Vin and Elend followed in Kelsier's footsteps. They were both ready to give their lives, and in doing so, saved those they love. In my opinion, that's not a tragic or sad ending. It's just an honest one.
Oh, and as bonus aside, let me point something out to you. Human and his group of koloss were inside the Homeland when the sun came out, destroying everything on the surface. They were still there when Sazed rearranged the world and fixed things. TenSoon and the kandra were also inside, though they had been turned into mistwraiths. Hum . . . Wonder what happened to them. . . .
