This is also the chapter where we get the climax of the Pits/atium plot. We finally get to see them first-hand, and see Kelsier go to them and exact his revenge upon them. I worry that I should have foreshadowed this more, pointing out that Kelsier knew of a way to destroy the atium crystals. The problem is, I've left the Pits intentionally mysterious.
This is the most overt and obvious of my savior-imagery scenes for Kelsier. I hope you didn't feel like I was hitting you over the head with it. (I didn't actually realize the similarity between Survivor and Savior until I was part of the way through the book.) Either way, yes, the Christian imagery is intentional. I didn't put it in simply because I'm religious (after all, if you look at it, Kelsier isn't really all that Christian in the way he deals with people.) I put it in because I think that the images and metaphors of Christianity are deeply-seated in our culture, and drawing upon them provides for a more powerful story.
Part of this is to intentionally make people uncomfortable–for discomfort (when used right) leads to tension. The Christians who read this might be made uncomfortable by how strikingly un-divine Kelsier is. He's acting in some of the same roles as Christ did, but he's not the man that Christ was. He's kind of a pale imitation. The non-Christians, in turn, might be made uncomfortable by the fact that Kelsier is manipulating the people in the way that religions often do, giving hope in something that could very well prove to be false.
Either way, he is what he is. The truest Kelsier is the one we see near the end, where he's standing in the kitchen, smoldering in his black clothing. He is a dangerous man with powerful beliefs.
Chapter Thirty-Two
You know you're getting to the end of the book when I start to tie up the small plot arcs, leaving room for the big ones to climax. In this chapter, we have two nice little resolutions. First, the Spook/Vin relationship arc. This one wasn't extremely important, but I think it added a nice human touch to Spook, which is useful since he will get more screen time in later books.
Secondly, we get the final "train with a Misting" scene for Vin. Again, this is a small arc, but it was nice to get it finished, for the sake of cohesion. She's now gotten tips on all of the basic metals except copper, which is the simple on/off metal.
Finally, we discuss Vin's ability to pierce copperclouds. There's actually something very strange going on here, but I can't tell you what it is until book three. Suffice it to say that there is an in-world, magic-related explanation for why Vin can do this while Kelsier cannot.
Another big step for Vin is admitting that she loved Reen. She's finally letting herself feel, and admit, the things that she's been repressing all this time. It's good for her to get them out, even if they hurt.
Of course, we also get to see Vin's abandonment complex. It's something that I haven't enforced too much in the book, but it was always there. Often, I think a sense of forced independence and solitude–like the one attitude Vin displayed in the early parts of the book–comes from believing that everyone will leave you eventually.
Chapter Thirty-One
This is another of my favorite chapters. (How many of those am I allowed to have, by the way?)
Anyway, it was about time for someone to say the things that Vin did in this chapter. Kelsier and his group really ARE a bit disconnected from regular skaa. In a way, they're like Elend and his little band of philosophers–they feel bad for those beneath them, and talk about helping, but it's really hard for them to really understand the skaa.
I love Vin's entrance. Perhaps I have a flare for melodrama, but I think it worked very well here to have her burst in, bloodied, carrying her dress. (Which, of course, she went back and fetched so that it wouldn't give her away.)
I did change the last line of this scene. Up until the copy edit, the last line from Kelsier's viewpoint (before we switch to Vin atop the roof) was him thinking "Well, she certainly has changed!"
This seemed like too much of a quip, and it undermined the tension and emotions of the last chapter. Sometimes, a good one-liner is good to release tension. However, in this case, I found that it really did feel out of place. This just wasn't the time for some half-snarky comment from Kelsier.
Chapter Thirty - Part Two
Here's my original journal entry for this chapter, written right after I finished the chapter itself:
Chapter Thirty: Vin saves Elend at the party.
Finished 5-19-04
It's wonderful when a chapter turns out just the way you envisioned it.
I worked on this chapter for a long time–from the beginning of the planning process, I imagined this as one of the major action sequences in the book. I began with the image of Vin shooting up through the air as the rose window twisted and fell beneath her in the mists, then I expanded that to her protecting Elend, giving Vin a real scene of heroism. Originally, I wasn't intending her to fight the Allomancers, just to lead them away, but I decided that I needed a pure Mistborn-on-Mistborn fight in the book. Every other Allomantic battle involves Inquisitors.
The scenes in this chapter are some of my favorite so far. Though, oddly, it took me a long time to get into them–I hedged over what the first part of the chapter should entail. Eventually, I decided that this would be a perfect place to give Vin some abandonment issues. This is a hold-over from the original Vin from the first Final Empire [Prime] write–the fear of abandonment was a large part of that Vin’s personality. It worked well in this setting, and I think I'll emphasize it just a bit more in the rewrite. The next chapter really plays off of this idea.
It feels a little bit weird to be writing about a young girl running around killing people in her skivvies, but I don't really see any reasonable way for her to fight in one of those bulky ball gowns I'm using in this book. So, underwear it is!
Kliss and Shan have both come to have much larger parts in the book than I'd intended. Kliss was intended to be a throw-away character used in one chapter, but now she's become an informant and a conspirator. In a rewrite, I think I'll have to introduce her sooner and try and give her a more distinctive personality. As for Shan. . .well, I only added her a couple of chapters ago. Obviously, she'll need more time in the rewrite as well. Vin's battle will be much better if I can have her fight a named character that's been an antagonist in a few chapters. The Vin ball scenes have become a larger part of the book than I had thought, and adding Kliss and Shan as recurring characters will help flesh out that plot-line, I think.
Like how I ditch Sazed in this chapter so that I can have Vin's "grand" entrance in the next chapter? Pretty smooth, eh? I was worried about how I was going to deal with him. . . . As for the actual fight and the scenes, I think everything flowed quite well. We'll see what readers think!
(Note, when I wrote this, Elantris wasn’t even out yet–it was still over a year away from publication–so I really had no idea if people would be responding well to my writing or not.
Now, if Sazed's leaving her alone didn't hint at you that something was coming. . .well, you need to go back to foreshadowing school.
The image of Vin bursting out of the building as the rose window churned the mists, falling beneath her, was one of the first fight scene images I got for this book. When I came up with it, I knew that I absolutely had to find a way to have a fight at Keep Venture.
Originally, I was going to have Vin use her Allomancy more obviously in front of the crowds. Having her do it the way it ended up happening in the book was simply a matter of convenience–the plotting of the chapter had her end up in the back corridors rather than in front of any crowds.
Either way, this turned out to be a very powerful chapter, one in which I'm extremely pleased.
It was extremely important that Elend reject Vin in this chapter. I worry that I got a little bit into convenient motivations in this chapter–I always hate it when men and women have relationship problems in book simply because it's the place in the story for things to go wrong. Weak conflict–something a friend of mine calls "Deus Ex Wrench" is a problem with most romantic comedies.
Better to have realistic, rather than feigned, tension. I hope that I was able to manage that in this chapter. Elend is being almost completely honest with his emotions here–he has just discovered that Vin was lying to him all along. Rather than feeling bitter, however, he feels like a fool. He's realized that the game was playing him all along, and he's disappointed to find that Vin is part of it. That, in turn, persuades him that he should just give in and do his duty to his house.
And so, he turns her away. The vital part of this all, of course, is that it gives Vin the chance to love him–and protect him–even though he's rejected her. This is perhaps the most important step for Vin in the entire book. She's learning the things that Kelsier talked about, the truth that she needed. With this in hand, she can trust people, even knowing that they might betray her.
Chapter Thirty - Part One
Keep Venture is actually based on real cathedrals. Actually, visiting a few cathedrals was what that sparked the entire structural theme for the buildings in this book. The main inspiration for Keep Venture was the National Cathedral in Washington, D.C. I loved the way it incorporated the huge windows at the sides, inset with pillars, with interesting balconies above for viewing. I took that concept and changed it around a bit, turning the worship hall into a ballroom.
After that, the other keeps were easy. Keep Lekal came from the Luxor in Vegas. Hasting and Elariel I came up with on my own–one because I wanted a tower keep, and the other because I imagined a room with stained glass windows in the ceiling.
There are two major foreshadowing elements in this chapter as well. The first is what Vin does with Sazed's bit of metal. She can't reach the power because she didn't store it. The implication is that if she WERE able to store attributes as a Feruchemist, then burn those metals, she could tap this extra power. Also, Kelsier's discussion about the Valla religion is supposed to just make him look apprehensive. What he's really doing, however, is reconfirming that the death of a leader will make a people stronger, not weaker, in resolve.
Vin's "Everything is going to change" discussion strikes me as one of the most sincere, and honest things discussed in the book. I like this chapter for the way that it exposes the main characters. I know I've felt like Vin sometimes, and I know lots of people who fear change because of that phantom feeling that the future can't possibly be as good as the present.
It's no coincidence that I spend a lot of time on Sazed's religions in this chapter. I liked the interplay of the religions of the past with the pensiveness for the future both Vin and Kelsier are feeling.
Chapter Twenty-Nine
This is probably my favorite section from the logbook. It really comes together here, weaving in elements from the various epigraphs, making a story out of what the reader has previously only seen in pieces.
I hope this story-within-a-story is interesting to you. It really does have a purpose in the novel, as you'll eventually see. At the very least, I should hope that the concept intrigues you. The past story is, after all, the standard fantasy novel story–the young peasant hero who follows the prophesies to rise up and defeat the dark lord. Except, as you can guess, something went wrong.
Though I try to avoid writing the standard fantasy story, it intrigues me. That's why I wanted to have these epigraphs make reference to the concept. They let me play with what has come before me, without actually forcing my readers to spend all their time reading "my" interpretation of the same old story. (It seems that every fantasy author has their own spin on this story–yet none of them realize that as a reader, I don't really want to read a new spin on an old story. I want to read a new story.)
Oh, and TenSoon makes a cameo in this chapter. This will only mean something to you if you've read the third book.
So, as I said, I felt that I needed to wait to make Elend a viewpoint character. There are several reasons for this. The primary one is that this book is really about Vin. Kelsier has some time, but really everything in this book is focused around its effect on Vin.
Elend couldn't come in as a viewpoint character earlier because I think he would have been distracting. I like him a lot as a character. However, by leaving his viewpoints out, I allow readers to wonder whether or not he's playing Vin. My writing groups responded quite well to Elend, having constant discussions about whether or not his motivations were pure. They could do this because they didn't know his mind, and I think that by letting them do this, they could grow more attached to Vin. After all, whether or not Elend's viewpoints were pure only mattered in relation to her.
But, finally, I decided to ease that tension and let the readers know that he really was the person they thought. This should come as a relief, which relief will quickly be destroyed by the worry I create in this chapter. (In short, I couldn't bring Elend in as a viewpoint until doing so twisted the plot more, rather than simply untwisting it.)
The Venture-atium connection is something I wish I could have foreshadowed a little bit better. However, without Elend being a viewpoint until this chapter (the reasons for which I'll explain in a bit) there really wasn't much I could do to connect Venture and the Pits.
By the way, the "something a few years ago" that Elend mentions happening to disturb the atium production was Kelsier, the Survivor of Hathsin, Snapping and coming to an awakening of his powers–then bursting out of his hut and slaughtering every soldier or nobleman within ten miles of the Pits.
I think Vin makes a very important realization in this chapter–that the nobility are a lot like the thieving crews. The more connections like this she makes, the more natural it is going to be for her to go among the nobility. You might have noticed that she doesn't really focus on her act any more. That doesn't mean that it's gone–however, it does mean that she's getting better.
Chapter Twenty-Eight - Part One
I added the white dress–and the paragraphs here–because several women I know complained that they never got to see what Vin was wearing in this chapter. Honestly, women are so strange. A fight for life and death could be occurring, and all they would want to know is whether or not the blood spurting out of the dying men complimented their clothing or not.
Oh, and I hope you didn't forget about Marsh. Those of you who are clever probably figured out about the tattoos–it would be the only way for him to sneak into the Ministry's ranks.
To his credit, Marsh is as dedicated as Kelsier. More, perhaps, because Marsh doesn't care about acclaim or fame.
The ninth metal. It was difficult to decide what this one would do. I wanted something opposite, yet complimentary, to the power of atium. So, I decided that it would give a kind of skewed perspective of the past, kind of like atium gives a limited view of the future. Obviously, this will come back into the plot later.
I do worry that it took too long to get to this scene. You've probably been wondering for quite a long time what the ninth metal did–and that concerns me, because if you wonder it, you'll also wonder why Vin herself didn't get around to figuring out what it was.
The problem is, this really is the first place I could work it in. Allomancy is a very complicated magic system, and I wanted plenty of time for you to get used to it before I delved into its more odd aspects.
Chapter Twenty-Seven
I like this scene for its return to task. The team is refocused, and re-energized, working toward their goal with renewed devotion. And lots of other "re" words.
Anyway, there's a good feel to this scene, and I think a lot is accomplished quickly. I also like how Vin finally confronts Kelsier about the Eleventh Metal. Right here, I guess the reader has to decide whether or not Kelsier is lying. Either he really did find legends about the Eleventh Metal, and he believes in it, or he didn’t.
The answer is, by the way, yes. He did find those legends–legends that Sazed hasn't heard of. Legends nobody else has heard of. That is suspicious, true, but Kelsier himself believed them. More on where he got them comes later in the series.Kelsier standing and Rioting against the Lord Ruler's Soothing is supposed to kind of be a symbolic foreshadowing of the day when the two of them will stand across from one another in a similar city square–one impossibly powerful, the other just impossibly stubborn.
In this chapter, Breeze finally gets to confront Kelsier with the emotions that–I hope–a lot of the book's readers have been feeling. It needed to be said.
I planned these two scenes together for a reason. I realize that the executions get a little bit graphic, and but the power of having Kelsier confront his crew in front of such a terrible scene of death and destruction was important to me.
Breeze's outburst isn't the only thing in this chapter that needed to be said. It was finally time for Kelsier to admit some truths to his crew–of course, they had grown to the point that they could accept them. Here is where the book takes course toward being more focused and more intentional. It isn't about a heist, it's about overthrowing an empire.
Another focal chapter. I like how this one turned out. The fountains were a last-minute addition. Originally, I'd planned executions, but I wasn't sure how to do it. I knew I needed something dramatic and memorable, but I didn't want to be so cheesy as to do something like a guillotine. Since I'd already established that there were fountains in the city, I think this way created a distinctive image.
One worry in this chapter is the population. There are a lot of people in Luthadel, and packing them all into one square is kind of a stretch. I hope that it would be believable that they would gather this many people together, and I changed the executions from single-people to four-at-once in order to make it seem like the Priesthood was taking the large population into account.
Chapter Twenty-Six
This may just be my favorite epigraph in the book.
Since I have a little room here, let me mention something I've been wanting to talk about for a while. Vin's name. I realize that a lot of people read this name and think of a man—it is, after all, the name of a current action hero.
I didn't even make the connection. When I was developing this character, I wanted something that was quick and simple. I'm not sure why, but I felt a single syllable name was important for this hero. It indicated her somewhat base, street-wise nature, I think. Simple, straightforward, but not weak.
Vin was, however, originally a boy. The hero of Final Empire Prime was a young boy named Vin. When I pulled some of those character concepts over to this novel, I realized that making the hero female worked so much better. Some of the original Vin's conflicts hadn't ever felt right—the abandonment issues, the blunt attitude. They just all worked better with Vin being female. I knew I'd written an entire book with the hero being the wrong gender the moment I tried writing my first sample chapter of Mistborn with Vin as a girl.
Part Three Wrap-up
As I promised, things pick up a lot in the next section. Still, despite its slowness, I like Part Three, as it's the section of the book that feels the most free for natural character growth. There's a free-spiritedness to this section of the book, where Vin is working with the crew and learning her place in things. She is forced to not use Allomancy for a while, which in turn forces her to spend more time with people. This lets us begin to establish Elend as a character.
Now, with the army's death and the things that will happen in the next few chapters, the book can't really be the same. Things are coming to a head, and the city is growing very tense.
From my journal, written the day I finished this chapter (I sometimes keep a chapter journal for purposes of doing annotations later on.)
MBFE Twenty-Six: pewter draggingFinished 5-11-04
The first half of this chapter came quickly, especially after I switched it to Vin's viewpoint. She's come to dominate the story far more than Kelsier, which is good–that's what I'd hoped would happen. Now, it's much easier to write in her viewpoint than Kelsier's, since she has more internal struggles and, I think, more depth.
Things got tough once I got back to the caves. I knew I wanted Kelsier to have a kind of soul-searching period of thought, followed by the return of Mennis. The problem is, I wasn't exactly sure how much I wanted him to self-doubt. He isn't really the type to second-guess himself, so I didn't want him to brood for too long. Also, I didn't want his discussion of Mennis to go into the things I need to discuss in the next chapter–namely, the reasons the plan hasn't failed just because the army is dead.
The second half didn't start to work until I made Mennis more of a conversation-antagonist, having him advise that Kelsier just give up. This was kind of his function in chapter one as well, so I'm not certain why I didn't figure out his place in this chapter more quickly. In a rewrite, I think I'll strengthen this idea little more. It's good to pile on the "you can't succeed" sections of the book, so that when the rebellion finally does happen, it's all the more sweet because of the overwhelming sense of the odds.
Yes, Vin is more powerful than Kelsier. That's what I'm trying to imply by the scene of her and Kelsier in the hole. And, for one little more quip, I like the fact that Kelsier walks straight forward and says "I need no password." Which, if you think about it, is the opposite of what he told the soldiers last time he visited the caves–he told them they couldn’t even let him out, if he didn't have proper authorization. Ah, Kelsier. . ..
Chapter Twenty-Five - Part Two
I hope the timeframe of the various armies, with Vin and Kelsier running the distances, work all right. This is one of the toughest parts about writing fantasy for me, as I mentioned last time. I don't have a really good concept of distance, and getting things moving at the right speeds on a national level, so they intersect at the right places. . . yeah. Tough.
I had to, for instance, decide how quickly a person pewter dragging could run, and how that compared to someone marching in an army, and how that compared to someone taking a canal boat. If you can do that math and get back to me, well, it's too late. I already put it in the book. So, I hope I did it right.
As Vin herself points out, this is the second time she has forced Kelsier to take her with him when he was planning on going alone. This time, however, is different–or, at least, I wanted to be metaphorically different.
If Vin hadn't been along, Kelsier would have charged the army. He'd probably have died, and that really WOULD have been the end. He's got an impulsive streak. Vin, however, learned from her near-death at the palace. Mistborn are not invincible–something that's harder for Kelsier, even still, to grasp.
Killing off the army like this was planned from the beginning. I knew I needed some kind of big wrench in the plans of the crew, and figured this would make a pretty good one. Plus, it felt natural, since it was a problem with Kelsier's own growing reputation. The very thing he's been working so hard to foster eventually turned against him.
When alpha readers read this chapter, they didn't see the loss of the army as much of a setback. That was one of the first things that made me realize the big flaw in the early drafts. I'd talked a lot in the crew about stealing the atium, but I'd spent all the time with them actually doing things on recruiting the army. So, the readers were still focused on the job being the atium heist, rather than the capture of the city. In that context, losing the army isn't all that bad.
So, I like how the rewrite focuses much more on the army. It makes the events of this chapter all the more poignant. Yeden, the one that was employing the crew, is dead. That should mean the end of everything.
Chapter Twenty-Five - Part One
I hope that pewter dragging doesn't seem like something I just pulled out of my hat. I hate it when authors just suddenly come up with new elements of their magic systems. (See my recent article on how to write magic systems for more.) Instead, I find it better when the characters find new ways to apply what they can already do.
This seems to be a natural outgrowth of pewter to me. Plus, I did need a way to get Kelsier and Vin to the battlefield with some manner of speed. In these books, I've found getting people where they need to be at the right time to be one of the most challenging aspects of the series. In book three, I have one character crossing half the continent, then having to run back the other way, just so he can get where he needs to be for the end of the book.
After that, the scene with Ham and Vin discussing pewter is nice, but not one of my favorite of the Allomantic explanation scenes. The thing is, I had to stretch to find things that Ham could tell Vin about this one. She's really good with the physical metals–she uses them instinctively, and may even understand them better than Ham does.
I do like how Ham comes across in this scene. His personality, as the one who doesn't fake or play games in the crew, makes him really work for me as a character.
Then, of course, everything goes wrong. It always does, doesn't it?
The scene where Vin looks at the gate and sees the people being mistreated is another example of a scene I added in during the rewrite to reinforce how difficult life is for the skaa. Moshe wanted a few of these sprinkled through the book so that we don't forget.
I hope you feel a little bit of Vin and Ham's same hesitance regarding Kelsier's growing reputation, not to mention the mysticism with the Eleventh Metal. The thing is, Kell really hasn't bothered to explain himself to them, and they can sense that he's got other things going on beyond what he's told them.
The Eleventh Metal is supposed to be very suspicious. We'll have a scene where Vin confronts Kelsier about it soon. Also, we'll get to what the tenth metal does. I promise. (Sorry that takes so long.)
Chapter Twenty-Four - Part Two
In case you hadn't figured it out, Kelsier's wish to send Breeze off to the army has to do with his hidden plan. He wants to turn these people all into leaders, and so he's giving them the opportunity to take turns being generals.
Things are going to start picking up in the novel from here out. We haven't hit the infamous "Brandon avalanche" yet, but the pacing will increase from here to the end. So, I wanted to have this more light-hearted, relaxing scene as kind of a calm before the storm.
Also, I like to laugh. Mistborn, as a series, hasn't given me as much opportunity to have friendly banter as some of my earlier books. It's more dark, and more intense. However, I did want to fit in what I could. That makes this one of my favorite scenes in the book.
I don't know if you remember the scene where Vin sat outside this same room, crouching in the darkness, looking in at the laughter and the warmth. I loved putting that scene in, however, because I knew I was going to eventually have this scene–where Vin could reflect on how far she's come.
If you hate Spook's dialect, I apologize for this chapter. This is the place in the book where I spent the most time on it. I really like some of the phrases here–I tried to make the dialect focus on rhythm and sounds, making it alliterative and interesting simply to say out-loud. In case you need it, here's a loose translation of the exchange in this chapter:
Spook: "It;s not nice to play with people like that."Kelsier: "Oh, don;t worry about what he does to you. He;s not worth your concern."Spook: "You're probably right."Breeze: "What are you two babbling about?"Spook: "He wants to be clever. He pushes people around because he wants to prove that he is clever."Kelsier: "He's always been like that."Ham: "He's insecure. I think he worries that he's really not that clever."
Chapter Twenty-Four - Part One
In this chapter, Vin drinks from a cup someone hands her. It's a very small point–and, since she's been going to balls and the like, I'm sure she's done it before. Yet, I wanted to give a kind of metaphoric nod to how far she's come by having her pause, look at the cup, then drink.
One interesting aspect of the book that I haven't mentioned yet comes with the metal of tin. Originally, tin wasn't one of the Allomantic metals—I used silver instead. You see, I originally paired silver and pewter together, thinking that pewter had a significant amount of silver in it. Well, turns out that isn't the case. (Remember, each set of paired metals is a metal and an alloy made from it.)
My false impression on the belief that pewter is a silver/lead alloy goes back to my childhood. I remember when I used to paint lead fantasy figures that I bought at the local hobby store. One of the employees told me that they would be going up in price because the manufacturers wanted the figures to be safer. They were going to cast them out of pewter instead of lead, because pewter is much less toxic. I asked what the difference between pewter and lead was, and the employee told me that pewter is lead PLUS silver, and that's why the figures cost more.
He meant tin, I guess. Either way, that's stayed with me for quite a long time. I soundly resisted changing silver to tin during the first drafts of the book, even when I found out the truth. The problem is, I really liked the name "Silvereye" for those who burn silver/tin. It sounds far slicker than "Tineye."
I eventually came around, however. Consistency in the magic system is more important than a single cool-sounding name. I blame Hobby Town in Lincoln Nebraska for my pains.
I really like the scene between Vin and Elend here. I think I wrote this one in the car, actually, while I was driving back from a vacation we went on in Palm Springs about two years back. My roommate—Micah DeMoux, the namesake for Captain Demoux—did all the driving on that trip so I could get some writing done. What a great guy. He deserves a character named after him.
Shan's scene here is just another placeholder, I'm afraid. She just showed up to remind you that she's still around, making Vin's life more difficult.
Since I wanted to use her later as an antagonist, I had to make certain you didn't forget who she was. It was important to me that I have another Mistborn in the book that Vin could fight, if only to show off a little of what Vin is capable of. And, of course, I like the fact that I can pull a nice reversal of expectation with Shan.I like the obligator scene in this chapter, as it gives Vin a chance to realize just what the whole obligator system is about. Regular priests watch over the spiritual well-being of their people. The Lord Ruler doesn't really care about that. So, his priests watch over the economics of his empire. Seems like something a living god would do.
Chapter Twenty Three
Has it been too long since we've seen Elend? I think so. I wish I could have worked him into the story more earlier, then shown him a little more consistently. I promise that you'll see more of him in the upcoming chapters, however.
He's one of the major characters in not just this book, but the entire series, after all.So in Reckoners you mention that the three, like, most powerful Epics in North America, pretty much the ones you're afraid of, were Obliteration, Steelheart, and Night's Sorrow.
Uh-huh.
What about Night's Sorrow?
Night's Sorrow? Is still out there.
But it's-- it-- will it ever be shown what Night's Sorrow can do?
Yeah-- I mean, in-- the Pacific Northwest has suffered... uh, yeah--
No, but when--is there gonna be a book that has what Night's Sorrow can do in it?
Yes.
Okay.
Yes, there will be.
Good.
*pause* Eh, uh... yeah.
If you could have any power that's in your worlds?
Uh-huh.
What would you be taking?
Well, probably Allomancy because it's the only one that I could use in this world, right? Because most of them require the magic from the world, this one you can make it happen. So, eh, Allomancy.
How many hours a week do you spend writing? You write more than anybody--
I do it in normal person's job, I'm... Eight hours a day probably. Two four-hour sessions usually. I'm not that fast, I'm just very consistent. It's just my personality. It's served me really well in writing, just because I can consistently write everyday. I don't go through mood swings and things.
Ham's family makes no appearance in this book. I added this line in on a whim, since I figured it would add some more depth to a character who–unfortunately–I just don't have much time to develop.
I am happy, however, that I found a chance to spend some time with Dox. The scene between him and Vin is one of my favorites in the book, since it humanizes him while at the same time giving us further insight as to who he is, and why he does what he does. Dockson feels the same way about things that Kelsier does; Dox is just far more subdued in the way he goes about life.
This aspect of the world–the fact that noblemen regularly rape, then kill, peasant women–is the most discomforting to me. I don't like my books to be overly sexual in nature. However, there is a difference between having sexual books and having sex in the books, I think. This is a very corrupt and fallen society, in many ways. I think I had to include this aspect to show just how terrible it is.
In addition, I wanted this scene to be shocking because I hoped to put the reader in Vin's shoes. You all know that this sort of thing happens in noble society–in the prologue, a nobleman tries to rape a young girl, after all. But, I hope that you–like Vin–have kind of glossed over that sort of thing in your mind. Seeing people like Elend, and the pretty balls, has helped you forget about the terrible things these people do. So, when Dockson lays it out so bluntly, I hope that it is surprising.
Some alpha readers thought that it was unrealistic that Vin would delude herself to this extent. She's know about the whorehouses, after all. However, I think that this is the kind of thing that people naturally try and gloss over. It is natural for Vin to not want to think about these sorts of things until she is confronted by them so expressly.
