Brandon Sanderson (paraphrased)
He described Khriss as a research scientist.
He described Khriss as a research scientist.
On origins of Dalinar: from story he wrote as teenager - his brother is the king who gets assassinated and he has to decide whether to take over from his nephew or not. Hoid is the court magician
On Shallan's origins as a character: mostly derived from a character in Dragonsteel and Mat Cauthon. Specifically mentioned that she has issues with authority figures.
On being asked if an Elantrian could wield Nightblood, he said yes it's possible but would be very dangerous - you'd have to figure out a way to connect Nightblood with a local source of Investiture.
Brandon threw us a bone on what the big world-hopping hint in Elantris could be: Raoden has misinterpreted one of the Aons.
What would happen if you made a cup of tea from the Tears of Edgli?
You would have a very interesting cup of tea.
Can you could Hemalurgically spike a dead thing, similar to how Breath goes into dead things? Could you spike a Lifeless?
Yes, if there was enough of the soul left for the spike to take.
Could an awakened sentient object (e.g Nightblood ) bond a spren?
Technically but the specific circumstances you would need are so bizarre, in practice no.
Where is Nazh from?
Is there time travel in the cosmere?
We haven't seen time travel into the past, but we have seen it into the future in Alloy of Law.
Will Kaladin ever get Wit's flute back to woo a certain red haired young lady?
Wit is very mad about Kaladin losing the flute. If he recovers it, he wouldn't let Kaladin have it again.
Where did you get your ideas for knights?
A knight has a sword, armor and a horse.
How do you pick names?
Each group is based on real world naming conventions, Alethi = near-palindromes + Semitic, Central Dominance = French, Emperor's Soul = Ancient Zoroastrian
Were Shardblades influenced by lightsabers?
Yes *long aside about how everyone in the last 40 years was so influenced*, but not sure how direct of an influence
Who are your biggest literary influences?
Robert Jordan *laughter* and Victor Hugo.
Is chouta based on food from Korea?
*long explanation about industrializing societies developing portable food* and no, it is Mexican/Italian, think deep fried meatballs in a sopaipilla.
Does Hoid have all the abilities of the planets he's visited?
What is the effect of the Nahel bond on human lifespan
Was Szeth's resurrection done with Rosharan Investiture or that from Nalthis?
Is the Moon Scepter an object of Investiture?
The Moon Scepter is an item that is important to Hoid, but I won't say why yet.
Is the woman around Wit's age named Reya?
Brandon also clarified that the oaths, with the exception of the first ideal, are not restricted to specific words. Rather, a specific idea must be conveyed for the oath to be accepted.
He said that Dalinar has had a bond with the Stormfather "for a while." He also only said one oath at the top of the Urithiru tower, not two. Dalinar conveyed a single idea in that particular oath.
He said that at one point Shallan may have said all the oaths for her order (or may have been capable of saying all of the oaths by the end of the book) but has since regressed due to "memory loss/repression."
How many oaths can a Radiant swear?
There is an upper-limit/threshold to the number of oaths a Radiant may make. By the end of WoR, Shallan was a step higher than Kaladin.
Did the mistress from the interlude in book 1 destroy the Shalash statue on the night of Gavilar's death?
Yes, and also all the other ones that we've seen, including the one in Shallan's vision in Words of Radiance.
Is the mistress Shalash?
(Brandon mentioned changing Kaladin's plot so that he chose the "hard" path) What was the hard path?
Kaladin initially accepted the Shardblade and Plate in the first book, and the rest of the book was about him fighting with them. Really boring.
So, is shardplate created as a result of a spren bond?
Is it true that humans can bond to multiple spren?
They can theoretically bond to multiple spren.
Has the Thrill existed longer than the Death Rattles or have they both been occurring for about the same period of time?
The Thrill and the Death Rattles started around the same time, but the locations for the two fluctuate and have been since they appeared.
Do highstorms get weaker as they move west because of normal meteorological reasons the same way a hurricane gets weaker over land or is it because they slowly drain investiture as they infuse spheres over the whole continent?
Both. He said that anything like that will be affected by both normal science as well as the magic, but then he added that the highstorms are a natural occurring phenomenon that were on the planet before stuff started going down.
Do darkeyes feel the Thrill?
Yes, they do
Dalinar, in one of his visions, sees the stars wink out one by one. Are these the stars of other shardworlds and does this imply that the final Desolation is going to affect more than just Roshar?
You earned yourself a RAFO card!
Is there a pattern to Taravangian's stupid/smart cycle, or is it actually random?
His aides are convinced that it is random, but if you plotted it out, it's really a distribution curve that is only made to look random.
You mention the phases of the moon fairly often in [The Way of Kings]--is this significant or something that we should be paying attention to?
After working with the Wheel of Time community and dealing a lot with fans wanting to know when certain events happened in regards to some other event, Brandon added in [details about the moons] in order to give dedicated fans a way of determining the chronology of the events of the Stormlight Archive.
Mmm...that phase of the moon thing really doesn't sound right to me. It's true the moon was used that way in the Wheel of Time, but the way the moons are used in Words of Radiance really has nothing to do with phases.
sorry, "phase" is the wrong word, and I don't think Brandon used the word phase either in his actual answer. I guess he was more meaning which moon was up, etc. Either way, his answer just seemed to indicate that you could use the moons to determine chronology.
Would a Full Lashing work in a vacuum? If not, is that because it works by creating a vacuum between the lashed objects?
First, good question. The way Lashings work, it does have to do with pressure. But I can't go into it. I'm going to have to RAFO that one. Again, good question.
Can AonDor heal chronic conditions, like poor eyesight? If so, does it require specialized Aon drawing to work, or will enough Aon Iens do the job eventually?
Yes, AonDor could cure a chronic condition like poor eyesight. But you would have to get the specifics of everything, kind of like they're equations, correct. You'd have to know a LOT about AonDor and a LOT about the body to get it right. *pauses in thought* It's kind of like with computer programming.
What are the plans for a Legion television series?
The studios option on it explores here in December. If they renew it, they have another year to begin production. Nothing firm yet.
I've had enough asking about it that I really should do the last one. It's back burner for now, but I want to.
If using their abilities slowly drives them mad, how can good Epics rise up to help?
That is kind of the point of the novel isn't it?
I asked if we had met any other Rithmatists who gained any their abilities from some other method than the Inception ceremony besides Nalazar.
That was a flat out no. "Unless you include what Harding was doing."
What can you tell us about anagrams in what Wit says to Dalinar? Like how "Balderdash" is an anagram of "Shardblade"?
Everything Wit says is significant. How much or how little varies, but it's all significant.
Any more Mistborn stories in the works?
Yes. For those who aren't aware, when I pitched the Mistborn series to my editor originally, way back when, I pitched it as a trilogy of trilogies—a past-present-future—where I would do an epic fantasy trilogy and then I would jump forward hundreds of years and explore what happens with the magic in a modern-day technology level setting, and then I would jump forward hundreds more years and allow the magic to then become the primary means by which FTL—faster-than-light space travel—is able to happen. And so, the three metallurgic magic systems actually have FTL built into them. And so there will be a space-opera series set in the future, because I was able to plan all this stuff out finally knowing what I would be publishing. One thing that I ran into doing that was, when I delved into The Way of Kings and The Stormlight Archive, I realized that I wasn't going to be able to get to that second Mistborn trilogy any time soon, so I didn't want to have two big epics going on at the same time—I wanted, you know, one epic, and then other things—and so what I did is I said, well I'm going to try writing a short story in the Mistborn world, and this will be something exciting for people that, you know-- I kind of sort of do some of these things to keep Mistborn going.
And, I tried writing a short story and it flopped horribly. It was a terrible story. Wayne was in it, but otherwise it was awful. It just didn't work...
Okay. Anyway, so back to your story. I tried to write this short story, and it was awful. And I said, well, it's just not working, but there's some ideas here that I want to expand on. Maybe I'll write something bigger. And I started working on it, and I got about three chapters in, and said, okay, this is a novel.
Fortunately, I'd built into—this was a time where I'd built in myself a couple of months between Wheel of Time books to just do whatever I wanted. You can go back to my blogs at the time, and I said, people, I need a couple months to do something else to refresh myself. And so, I went in my outline to a full short novel that became Alloy of Law, and this is an interim book meant to be kind of more fast-paced, only focused on a couple characters, to deal with, you know-- I describe it as, sometimes you want to go have a big steak dinner, but sometimes you really just want to have a hamburger, and Alloy of Law is a hamburger. *laughter* It's faster. It's fun. It's meant to be a cool character interaction story, and with a mystery, as opposed to something that big.
And so I plan to do some more of those; I actually got about halfway through a sequel during moments of free time that unfortunately I can't continue because the Wheel of Time project went-- I would do it when I'd like send a revision to Harriet, and it would be, she'd be like, "I'll get back to you in three days," and I'm like, alright, I'll work on this. And then when the revision comes back, I don't keep going on this; I have to work on The Wheel of Time. It's not something I can put off. And right now with Stormlight 2—I have to do Stormlight 2; deadlines are so tight—but I will eventually get back to Shadows of Self, the second Wax and Wayne book, and you will get some more of those, to have some things going on in the Mistborn world until I get to the second epic trilogy, which will happen eventually.
I was just curious, as a writer, what you find the hardest in writing a book. Is it development of the characters, keeping them separate? Or plot--
For me, usually the hardest part is revision, because getting a book 90% of the way there is not easy, but easier for me. Getting that last 10% is the really hard part, and often requires knocking out walls, figuratively, or killing your darlings and all of these sorts fo things. It's really tough, so I find revision the most difficult part. If we're talking about the rough draft, usually the most difficult part of the book for me is about at, I would say, right around the middle. Right smack-dab-- sometimes it's the one-third part; sometimes it's about the two-thirds mark. There's a point in there where you're not quite to the ending yet where all the exciting things that you've planned are happening. But all the cool stuff you frontloaded on, you're really excited about the project, and it's new, and right in there is a point where you're like, I need to keep this exciting and interesting, and yet now it's my job, right? There are points in the writing where it's just, it's your job to get up every day and get a little bit more done, and you get all these other little projects dancing around in your head, like "ooh you could do this, hey? Here's a wacky magic system, write a screwy story about that, Brandon." *laughter* And you've gotta remain focused, and you've gotta keep on working on the book and not let yourself get distracted; that's also somewhat of a hard part.
I'm a huge fan of the Writing Excuses podcast.
Well thank you.
I always say it's like a master class in genre writing, so I thought you should—for aspiring writers who are in the room—that you should take a few minutes and tell them about the podcast in case they don't know about it.
Okay. So, what happened is, my brother was taking this class in college. My brother's one of these people who take like ten years to get an associate's degree or whatever it is. *laughter* You know, he's got a good job in IT. It's like, he doesn't need the degree, but he feels like he should have one, so he's like taking a class here, and taking a class there. I see people nodding; you either have done this or have loved ones who have done this, but anyway--
Like doing this ourselves--
Yeah, or doing this yourself. *laughter* So, he's taking this podcasting class for whatever reason. He's like, "Hey, you should do one of these, Brandon." "What? I'm not into podcasting; I'm not a radio personality." He's like, "No, no; you should do this." And he had this great idea—we wanted to do like this web serial that's adventures, like an old classic radio drama, and all of this... writing-intensive stuff, which is why he came to me. And I passed on it; I said, "No, I'm not gonna do that; it sounds fun but I just have too many things on my plate; there's no way I can write all of this for you."
But the idea for a podcast stuck in my brain, and I started listening to some podcasts—I really enjoyed a lot of them I listened to, but it seemed like there was this habitual problem in podcasting where it would be, friends sit around a table and chat, and then, you know, you turn on the podcast and it says one hour and thirty minutes, and you're like, "Ninety minutes, guys? Come on! Is there no editing going on? Can't you stick to a point?" Like, a lot of them are like, you know, the three-hour-long podcast where we're going to, I dunno, drive to Texas and talk about it. And they'll have this topic on, it will be like, "We're gonna discuss the new Batman movie," and I'm like, "Oh good, I want to hear what fellow geeks think about it." And then you see that it's a two-hour-long podcast, and you know they're gonna talk about Batman for like fifteen minutes of that, and then the rest is gonna be like what they had for dinner. *laughter* Because you know, you've been to lots of cons; you've been to lots of panels. You know how it goes; we get off topic. And every discussion of Star Trek turns into an argument of who's the best captain or whatever, and it's the same sort of thing over again.
So anyway, I was thinking about this, and thought, I really would like to do a writing advice podcast. So many people email me wanting advice; so many people would like to try to take my class but can't. Often my class has fifteen seats and I have seventy-five people showing up wanting to add, and we pack as many into the room as we can, but I wanted to do something that would let me give some of this writing advice. So I figured I wanted to do a podcast that was short and sweet. I wanted to organize it more like a little news program where you have one moderator throwing questions at people, and making sure that it stayed on topic, and did it in just a short period of time—I thought fifteen minutes was the right amount of time; just a quick, on-topic podcast—but I can get kind of dry. I've got this university background, right? I just kind of blab—you've been watching me; I do this—and so I'm like, it'll be better if I bring on people who are funny so that people can laugh—that are glib and all this other stuff—and so I went and got the two funniest people I know, which are Howard Tayler and Dan Wells—a horror writer and a comic book illustrator and writer—and I figured that would also give some diversity to the podcast.
And so we started doing this podcast, and it really took off—it was very popular—and so we eventually added a fourth member because we realized that we were not as diverse a cast as we could be, considering we were all three white dudes from the same town. *laughter* So, we called up Mary [Robinette Kowal], who has a very different perspective on life than us, and had been the best guest on the podcast that we'd ever had, and we figured at that point, the podcast now had a sponsor—Audible—so we could afford to fly Mary out, because we do it in person. We can't—this whole Skype thing, you just don't have the same chemistry. And so we started flying Mary out, and so for now, two seasons we've been doing with Mary, so it's the four of us doing writing advice, that we just tackle a topic every week and go at it, and we've had a lot of fun with it. We recorded a bunch of episodes before Dan moved to Germany for a little while, and we did cool things like, for instance, we each brainstormed a story—one episode was for each of us—and then we're all writing these stories which we will then post the rough drafts, and then we will workshop them on an episode, and see the evolution of the story, and then we'll do revisions. I actually, when I worked on my story, I grabbed one of the screen capture technologies—what's it called?—Camtasia, and I recorded myself typing the whole thing. It's like, wow, this is me at the computer going for six hours; maybe we can speed it up or something. But I had screen captures of me just typing the whole story, and then I will do screen captures of the revision process, and then post those so that people can watch a story being built, and watch it evolve, and watch all this sort of stuff. So, it's pretty cool, the podcast, so if you're interested in writing and reading, or if you just want to hear us sometimes be funny, feel free to listen; it's Writing Excuses.
There is an overarching storyline between all the books... that we finally find out about in the last book, between two gods that are at war, and you were saying yesterday in your lecture how you tend to freestyle your characters but you tend to plan certain other events, and specifically to do with the ring in Vin's ear. Was that a planned event, or was that a part of the overarching plot?
That was a planned event that I worked out. What I'll do a lot of times when I'm building a series is, I will build an outline for the first one, and then I'll have just a few paragraphs on the rest of the series, and then I'll write the first one, and once I'm done with the first one, and I'm sure of the characters' personalities, that really allows me to expand the outline for the rest of the series; it's very hard to write—you know, to build a full, complete outline for everything until you know exactly who the characters are gonna be, and as I said yesterday, my characters I allow to grow very naturally. Characters do always get veto power over a plot, meaning if I get to a point where I'm like, the person this character's become would not do this thing that the plot requires for them, I either have to go back to the plot and rebuild it from scratch, or I have to go say, this is the wrong character for this role. Let's try a different character cast in this role. And I've done both before.
And so, with Mistborn I did plan that in from the beginning and then write the first book and then in the second two I expanded on it and said yes, this is going to work—this can be an important feature of the story—and so it was one of those things that came together that you always hope will come together, and it did. Being able to embed some of the things in book one that work for book three, and I was really using it as practice for the larger series and things like that, so the fact that it came together made me more confident I could do this sort of thing across bigger series. But I'm very pleased with how the Mistborn trilogy turned out. I did have the training wheels on for the Mistborn trilogy; when I sold Elantris, they said they were going to publish it in 2005, and that they needed my next book by then. Well, that was two years away. I had a good writing habit and work ethic at that point, and so I was able to write all three books of the Mistborn trilogy before I had to turn the first one in for publication which gave me a safety net in case I wasn't able to get all of this stuff in and whatnot—I could change the plot so that I can not have to fall face-first, so to speak—but it did all come out so I was very happy with that, but it did allow me to go back and tweak a few things, like for instance, there's a character who becomes a viewpoint character in book three who hadn't been one in the first two. That wasn't planned in the outline; that's something when I got to book three and was working on it, I felt, I really need to give this character more space, which meant that there was a location this character was in—Urteau, which was not built into the plot to be a major location—and so I had to go back and add some foreshadowing for this place, that it was important and these sorts of things; it allowed me to do some stuff like that.
To get us started, Brandon, do you want to give everyone a quick idea of what the cosmere is?
*laughs* Okay. So, here's what's going on: When I first was trying to break in—this was over ten years ago now, like fifteen—someone told me that your first five books were generally unpublishable. That was fairly good advice; I found that for most people it's really just your first novel; your second novel tends to get really good. For me, I did end up writing five experimental books that I never published; Elantris was my sixth book. Another piece of advice I got while I was working on it, however, was: you don't want to start with a big epic, the reason for that being is that you want to give a chance for readers to read something, you know, a single volume, or maybe one or two books before—so they can see, so they can trust you to finish a story before you jump into a big epic. It actually seemed like pretty good advice to me; it also works very well with publishing because approaching editors and things like that, you want to be able to send them a book, and if they reject it, but say, "Hey, I'd like to see something else by you; this wasn't the right project for me, but I like your writing." You can't really send them book two of that series, right? Because, you know, they want to see something new, and so I sat down to write a sequence of three or four standalone epic fantasy novels that potentially could have sequels maybe, but the idea was to make them standalone. But, kind of in my heart, I've always loved the big epic. You don't grow up reading Robert Jordan and Tad Williams and Melanie Rawn and people like this, without saying, "I want to do that." And so, what I started doing was actually building a hidden epic behind the scenes with all of these books, the idea being that there were characters who were crossing between the worlds that would have a story that someday I would tell that wouldn't be directly important to the book itself, but would lay the groundwork and give foreshadowing to something very large coming.
And so I designed this thing—you know, I'm a worldbuilder—I designed this thing with a sequence of planets and a story behind the story, and people crossing between them. And so, when I wrote Elantris, I embedded all of this in there, and then my next books were in that sequence jumping around—some were before, some were after—and things like this, so there are these continuing characters. Well, years and years later, I decided I would finally start writing something big and epic; I was tired of not getting published; I was tired of all the advice people were giving me; I had written a couple of books that were not very good based on the advice that people had given me. I said, "I just want to write my big epic," and that's when I started Way of Kings, and wrote that. And I'm like "I'll the launch into the big epic, some of these things are going to be more important to the series" It was kind of me honestly giving figuratively the bird to all of publishing, saying, you know, "You've told me that my books are too long, that two hundred thousand words is too long; I'm gonna write one that's four hundred thousand," so, you know: "I don't care; it's gonna be big and awesome and it's the book for me." I spent eighteen months working on this book, and right after I finished it, I sold Elantris. It sat on an editor's desk for a year and a half. He finally picked it up and read it, and tried to get a hold of me the next day wanting to buy it.
And so, suddenly I sell Elantris which I had written like five years before, which had all these things embedded in it, and I sent that editor The Way of Kings, because you know he wanted to buy two books from me. He's like, "Alright, the standalone is great; what else do you have?" so I sent him Way of Kings, and he panicked. *laughter* He was like, "Ahhhhh, this is huge, and what are all these illustrations that you're talking about, and I don't know if we can-- can we break this into like four books?" And I'm like, "No no, it's gotta be one book." And he's like, "Ahhh...." But fortunately for him, I didn't feel the book was ready at that point, otherwise I might have forced him to publish it. I felt my skill wasn't up to the task of doing that since I'd practiced only doing standalones up to that point, and so I said, "I want to do a trilogy so I can practice the series format; I've got a pitch on this book called Mistborn that I want to write for you." And Mistborn was the first book that I ever wrote knowing it would get published. So when I sat down to write Mistborn, I had already sold Elantris, and Elantris was coming out, and it all of this stuff embedded in it, and I'm like, "Do I keep going with that or not? Do I just go all in?" And so I decided to go ahead and do it, and so Mistborn has all of this behind-the-scenes sort of story things built into it, and there's a character from Elantris—it's the beggar that Sarene meets near the end—who is also in Mistborn, who is the beggar that Kelsier talks to, that they wanted-- pretending to be blind, that he gets information from, and then this character keeps appearing in all of the books as kind of a little Easter egg that was not so Easter-eggery because the fans found it right away. *laughter*
And so the cosmere is my name for this big universe, which is actually, you know, just a play on "cosmos"—it's not the most original word—but it's something I had actually come up with when I was a teenager, so, it's one of those relics that's in there that if I were to do it now, I might name it something a little less obvious. I don't know; it does work, and it is a fun name, so that's there. The character's name is Hoid, and there are other characters moving between the planets, and so there is a buried, deeper story to all of my big fantasies. The thing that I want to tell people, though, is that you don't need to read them in order because these are just Easter eggs; there's not a story there that you can really piece together yet. I don't want people to feel they have to read Elantris before Mistborn, or they can't, you know-- If you read them all, at some point you will have some little extra tidbits of information, but there's not something there that's going on that's chronological that you need to know about right now, but that's in a nutshell what's going on there; there is an underlying theory of magic for all of the epic fantasies that they all follow. I love the concept in science of the unifying law, right? If you guys have studied physics, there's this belief that somewhere out there there's a unifying theory that will unite all of physics, and because right now, you know, the things that happen on the macro scale don't really match what happen on the quantum scale, and you kind of have to have two sets of equations, and people believe that someday we'll find that link that'll put them all together, and that's fascinating to me, science is, and so I have a unifying theory of magic for all of my worlds that people in-world on various planets are figuring out with regards to theirs, but if they had all of the pieces they could kind of put it all together.
How about the general number of years Warbreaker is from [The Hero of Ages] and [The Alloy of Law/The Way of Kings]?
RAFO - the reason that timeline questions are being RAFOed right now is because the final times are still not 100% solid, and Brandon said that he doesn't want to give us a time and then have it change around again (like what happened to [The Alloy of Law] being moved to the same time as [The Way of Kings] instead of being a bit earlier), so he won't answer any timeline questions until after he has the final timeline correct in his own system.
Can you give us an idea when the Prelude to Stormlight Archive is with respect to Elantris?
You mentioned in the forum QA that Liar of Partinel was scrapped - does this mean that Hoid's backstory will no longer be told?
There are still plans to do Hoid's backstory, all that the comment about the book being scrapped meant is that when it comes time to write it, the current draft will be tossed away and it will be written fresh - similar to how Way of Kings was done.