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Brandon Sanderson

<Bastrik> carefully reached his tweezers into the nook of the small tree's trunk and gripped. With a steady hand, he withdrew the squirming beetle and held it to the side for his daughter <Yara> to inspect. At seven she was still too young for a mask. The joy of a child was for all to see, a blessing from the Sovereign and his regent.

"It's so wiggly!" she said, hopping up and down.

With a bob of brown hair and a bright green dress, she was as if a flower herself. The grandest in his modest garden.

"This," he said, "is the hunter beetle. It is named that because it hunts little insects that eat the leaves of the <ekko> tree when it is young. See the white crossmark on the underside? That is the sign of a friendly beetle."

He carefully turned it so that she could get a look, then delicately placed the insect back in the hollow of the small trunk.

"But I thought all beetles were bad," she said, frowning

"Nothing is all bad or all good. Not animals, not plants, not people."

She pouted.

"What is wrong?"

"I told <Dallik> that we were always to squish beetles because they eat our plants. I don't want to be wrong."

He smiled behind his mask, which he wore by tradition of his mask-line—called Hunters themselves—covering the whole face. The more he'd traveled the Empire, the more surprised he'd been by the variety of masks worn by the different peoples. Everyone did them differently, which was a thing a man from a small village like this had never imagined. How could they all be so wrong? Or was he the one that did so incorrectly?

"Come, let me tell you a story," he said to his daughter as they moved along the planter to the next young tree. His yard was not enormous, but was so overstuffed with plants, flowers, and even a stream that it felt vibrant. Better to be full than to be large. Overhead the sun was comfortably hot. Each breath was humid and thick, the air full with its own invisible blood, unlike the cold lands to the north. They had their charm, he now believed that, but he did not miss traveling them.

At the next sapling he began carefully lifting leaves, looking at nooks in the trunk. "There were two neighbors once who encountered a strange weed on the border of their properties."

"Do I know these men?" <Yara> asked.

"Yes, one was your grandfather."

"Which one? Grandpa Blackmask or Grandpa Whitemask?"

"Whitemask, my father. Now, you'd like this plant they saw because it was bright red and looked dangerous. You like dangerous things."

"Especially if they're wiggly," she whispered, leaning down and looking up as he found another beetle and checked its underside.

"Just don't leave any more snakes in the kitchen. Your mother will have my mask. Now, this dangerous looking plant your grandfather thought he recognized. 'That is a simberry plant, I think,' he said. 'I've heard of one by that description, it is bitter to taste and the berries themselves are poisonous. We should search the area and pull any we find so they don't spread and threaten the animals.' Now your grandfather's neighbor, he was a man who always liked to be right. He saw the plant and said 'No. That's a ballberry plant. It's perfectly harmless, the goats like to munch on them.'"

"Doesn't everyone like to be right all the time?" <Yara> asked, pointing at a beetle for him to check, her little head twisted to the side as she stooped almost to the ground. "Yes they do. It's human nature. So, they argued. 'Is it the simberry or is it the ballberry?' Back and forth and back and forth until they almost hit one another. Isn't it a silly thing to want to hit someone over a disagreement so small?"

"I suppose…" she said. "But who was right?"

"Well the neighbor, he couldn't let the argument go. He went to the big town, you know the one. I took you there to buy a dress last year. In it, he went to the grand school with a leaf of the plant and talked to the expert there. The professor said that it was called the ballberry, a deadly plant that would kill all of the goats who tasted it. So the neighbor, he came back to your grandfather and thrust the leaf in his face and said, 'I told you I was right, it's called the ballberry!'"

<Yara> moved up with him to the next and last of the three saplings he was cultivating here. She considered. He could see her mind working.

"So they were both wrong… but they were both right."

"Indeed," he said, "but it didn't matter if the neighbor had the name right, because it was still deadly. So Grandpa Whitemask was the most right, even if he got the name wrong. This is," <Bastrik> said, "the tactic of the frightened and the unconfident. They must be right, so they will ignore the meaning of the argument in favor of the small details. Do not be that person, Beloved. It is not how right you were but how right you became that matters. It is better to find you are wrong than to continue being stupid. And always remember to focus on what is important and not what is trivial."

He held up the beetle. "What do you think of this one?"

"It has a cross on the bottom, so it is a good beetle."

"Does it?"

He turned the bottom side toward her again

"No, that's just a white line. Much more fuzzy."

"This is an imposter beetle," <Bastrik> said. "They've evolved to look like the hunter, but they are smaller and they eat leaves. They are the liars of the bug world."

He took out another pair of tweezers and squished the beetle's head, giving it a quick death.

"These we kill, but always be careful that you actually know what you think you know. If you do not learn and be smart, you could kill your garden by destroying the hunter beetles that in turn eat tiny insects that we cannot remove."

Unlike adults, she never asked him why he cared so much about the garden or grew his own when there was a public one to visit down the road. She just looked at him with wide eyes and nodded solemnly. In response, he lifted his mask to smile. Emotion projected exclusively for her. Before he could take her to check the water level on the <dorst> ferns, however, a shadow fell across him. A car, directly above, driving off the roadway. His smile faded and he slowly pulled his mask back down.

"Daddy?" <Yara> asked.

"Go and look through the bushes by the fountain, Beloved. I believe I saw a snake in there earlier."

"Oh! I won't put it in the kitchen, I promise!"

She went scampering off and he tracked the car, black with tinted windows, as it stopped near his home. He didn't have a vehicle of his own, nor did his home have a car-dock. It wasn't that uncommon out here in the countryside. The market was close enough to walk and buses were available for other travels. The car slowly lowered down out front. It was here for him.

He walked inside quietly and washed his hands while <Rara>, his wife, came to him with mask up to show her fear, wearing a white dress with red blossoms along it.

"I thought you said you were done," she hissed at him. He dried his hands without comment. "We will pretend not to be home, yes?" she said.

"If it is who I think it will be, he will not knock."

The door opened a moment later and a few figures in red-maroon under black jackets slipped in, checking for any dangers.

"Why don't you go," he said to his wife, "and play with <Yara>? She is trying to find a snake to use in scaring you."

She squeezed his arm and met his eyes. In response, he lifted his mask and kissed her softly before lowering it and nodding toward the backyard. She glanced at the men in black and red before doing as he suggested, slipping out the back.

<Bastrik> carefully got himself some juice to drink, squeezed from the fruit of his own trees, as the door opened again and a short figure stepped in. Assemblyman Dlavil wore a mask unlike any that <Bastrik> had encountered in his travels. It was of a unique style that his guards and a small, but growing, cult around him preferred. Masks you could not raise, and it seemed to have grown into the flesh itself with the mouth cut so you could eat. When he spoke there was a faint accent to his voice that <Bastrik> had never heard from anyone else.

"Are we alone?"

Brandon Sanderson (paraphrased)

Mist hugged the shadows. Cars zipping overhead made the sunlight strobe like a short-circuiting lightbulb, the shadows flickering over Ayven as she stopped on the groundwalk, looking into the alleyway. Afternoon crowds flowed around her with the efficient annoyance of city people, as quick to dodge around her sudden halt as they were to lob curses in her direction. She heard little of it, with Terris mountain funk playing through her headphones, the noise of the city rendered as background beats to a peppy soundtrack.

That mist... surely it was too early in the day for it, or too late? She couldn't recall ever having seen it during the lighted hours, not even lurking in an alleyway. She seemed the only one to have noticed it. Perhaps she was the only one who cared. In fact, as she blocked the flow of traffic like a dead rat in a drain, someone moved in haste and hit her oversized shoulder bag, knocking it to the side. That twisted her headphones by the cords, yanking them free of her ears. She left a world of synth beat drums and entered Elendel at its most aggressive. The clatter of feet on concrete groundwalk, the shouts of the crowd, the call of distant sirens. The hum of cars overhead, kept aloft by the steelfield, each making their own kind of music as they wavelength-shifted past in an auditory bell curve.

She pulled her headphones down around her neck and slipped free of the main flow of foot traffic ["It says food traffic. That's a typo."], pausing by the alleyway to untangle the cord, straps of her bag, and her brown corduroy jacket. She hesitated, before reaching into the tuft of mist. A cloud, perhaps a foot in diameter, hovering in the shadows like a stray. The mist twisted in a tendril and wrapped around her fingers as if a vine growing at speed, curling around the brown skin of her wrist, tickling the cuff of her white blouse as it peeked out from the jacket's sleeve. Ayven, on impulse, squeezed her fist closed to watch the mist squish out and make a half dozen smaller tendrils that wiggled in the air. She'd heard of it acting this playful before, though had never experienced it firsthand.

The body of Harmony, she thought. The essence of a god.

Though [BLANK] had no direct children, she liked to think ["I told you I'd circumlocute!"] of this as her ancestry through the lineage of her great-great-great... well, she didn't know how many greats. Her greatest grandmother, whose name laced legend, myth, and history with a distinguished tenacity.

Ayven glanced back at the flow of traffic, many of whom were enjoying a half day off of work because of the minor holiday. As always in Elendel, they were joined by tourists, clustering in these First Octant streets near the Field of Rebirth, enjoying the sights of the governmental district and the nearby theater row. The blocky skyscrapers were as if sentinels, guarding older historical structures with intricate stone faces and regal bearings. There was always something to gawk at in Elendel. Buskers had to compete with architecture and neon for attention, so perhaps it wasn’t odd that nobody noticed the mist. City denizens trained themselves to keep moving along without distraction, and newcomers had more unique sights to stuff their eyes and consume their attention.

Still, she thought, looking back at the mist as it slowly evaporated, clinging to her fingers as if in regretful farewell. She lingered, soon touching nothing, before finally remembering her own urgency. By her wristwatch, she had an hour until the signing, but work had kept her a few hours late even with the holiday, and she’d learned to never underestimate the crowds.

So she hurried on her way, rejoining the flow of traffic, turning onto an even larger roadway two blocks further along, until finally the skyscrapers fell away somewhat to reveal the large convention center.

The oblong structure had a dome of an almost futuristic shape, which was coincidentally appropriate today considering the signage out front proclaiming that it was hosting "SpacerCon". ["I thought you guys might like this. I’ve warned people for years this would be the first scene of this one. Outlined back in 2004."] Ayven could remember a time during her teenage years, ten years ago, when the convention had occurred at a run-down hotel where the carpets smelled of dust and the wood veneer blistered on the walls, revealing plywood underneath. ["You’ve been there, I’ve been there too."] Around fifty people had attended that year. Now thousands bunched around the doors to get in, numbers that daunted her. She hadn’t expected it to be this popular.

Guess I still did underestimate the crowd, she thought, watching with growing horror as large groups started to move away from the front of the convention center. She pulled down her headphones again and grabbed the strap on her bag in two hands, nervously shifting from foot to foot as she waited in the entrance line, until she reached the ticket booth at the front to be confronted by the sign:

SOLD OUT

"Sold out?" she murmured. "It’s never sold out before."

"Should’ve bought your ticket early," the woman behind the counter said, putting feet up and shaking a newspaper as she settled back. Headlines said:

DISCORDANT KILLS THREE IN THE FOURTH OCTANT

"I didn’t get paid until yesterday," Ayven said. "I have to get in. Please. The signing is in half an hour and—"

"Did you read the sign?"

"But—"

"What does the sign say?"

Ayven swallowed, holding her bag straps as several people behind her sighed and floated away. She didn't want to impose, but also, a quote surfaced in her mind: "I know my orders were to stand down, but I choose to stand up instead."

"Please," Ayven repeated. "Is there a standby line, or a place where people sell tickets they aren't going to use? Maybe I could—"

The woman finally lowered her newspaper and turned toward Ayven, looking over her yellow-tinted glasses of a fashionable variety. Ayven didn't know her. The woman was probably building staff, not convention staff.

"You going to be trouble?" the woman asked.

"Trouble?" someone else said, stopping as he passed by behind the counter. A security guard with buzzed hair and drooping jowls.

He leaned down and looked through the ticket window at Ayven, eyes noting the colorful pattern of V shapes on her oversized bag, matched by the patterns on her belt, looped into dark brown corduroy trousers. You couldn't tell if someone was Terris by skin tone, though browner skin like hers was common to those of the ancestry. A person's features weren't completely an indication either, though she did have the longer face and taller height as markers. Even the symbols on her strap and belt weren't one hundred percent giveaways, they'd somewhat been claimed by pop culture. However, all three together…

"Terris?" the guard guessed correctly. "Never seen one of you make trouble here before. Aren't you people supposed to be accommodating and calm?"

"I mean, I'm not making trouble," Ayven said. "But that's also a misunderstanding. People are people, Terris no different. Harmony himself made trouble for—"

"'Sold out'," the woman said, "means 'sold out', kid."

Twenty-seven is a kid? Ayven couldn't tell if that was just a common address from the woman, or a response to Ayven's youthful features, or if it was some sideways slur. Either way, they turned from her, clearly indicating the conversation was over.

Heart sinking, Ayven left the counter. Next a Survivorist priest with glittering earrings and a black suit, marked by a necklace bearing the spear, presented his ticket and was let in. She watched him with envy, cursing herself for staying at work those extra hours. She could've left, but she'd been close to the end of a project, and her impulse had been to finish it, so she lost track of time.

Maybe next year, she thought. He could be back next year, even if he rarely comes to these because of the distances he has to travel.

She hovered about the entrance, hoping something would change, but more and more people were turned away. Overhead, cars pulled up at the elongated front of the structure. Most buildings were at least two stories in Elendel, even the oldest ones having landings constructed up to the driving level, which was roughly twenty-five feet above the ground level. All cars except emergency vehicles were locked into that plane, unable to move vertically up or down. They hovered rather than flew by virtue of their propulsors. It seemed that up on the driving level people weren't being turned away as frequently. Could she get up there and try again?

They're not being turned away as much, she thought, because they likely all bought VIP tickets at the higher price.

She doubted walk-ups were allowed even up there. She considered, almost just walked away, but something inside her wouldn't let her move.

I have to be at that signing, she thought with unusual force. He wouldn't give up. I won't give up.

With growing determination, she turned and walked to the side of the building, back at the worker entrance. There she watched the barred gate where people came in and out on break to get some fresh air, convention staff badges around their necks. She knew so few these days. However, she perked up and waved as by luck she recognized someone.

"<Les>!" she called. "Hey, <Les>!"

A shorter man wearing an old-style Roughs hat turned from a group that were lounging and chewing caffeine gum around a trash bin. He saw her behind the gate and perked up.

"Ayvendril?" he called, then trotted over. "Hey Ayven, aren't you going to miss the signing? I thought you'd be first in line."

She hunched down, holding her bag straps, and gave him a chagrined half-grimace. "I didn't buy a ticket early. They're sold out."

"Sold out? Hey, we're sold out!" he called to the others on break. They cheered. The convention had come a long way from the days when they'd asked for donations to pay for their hotel bill after <Vivine> had thrown up on the carpet in the party suite.

Les glanced at her, then opened the gate, waving her through. "Don't tell anyone. I'm technically not important enough to comp anyone a badge."

 

spectria.limina (paraphrased)

Is "tamukek" in Isles of the Emberdark a typo?

Peter Ahlstrom (paraphrased)

No.

Brandon Sanderson

Hey, all! I thought I'd stop by and post an update to your new book, which I've been working on diligently these last few months.

If you've been following along on the Weekly Updates, you'll know that I've been making slow and steady progress. Well, last week I passed the 50% mark, and hit the "midpoint" of the first book. It's been a blast to be back on Scadrial, working on the modern era of Mistborn--something I began outlining in 2005! (Wax and Wayne was not part of the plan back then. I'm glad I did it though, as it would have been too long a wait otherwise. Twenty years!)

The story is following a new recruit into the Ghostbloods, and...well, I don't want to say too much. We've got three years until the book comes out. As a reminder, my plan is to write all three before the first one is out. There are some things I can tell you, though, so I'll put those in the spoiler tag below.

I had originally talked about this being about a nicroburst who helped with an apparent Mistborn serial killer. I've moved away from this as the central plot for a couple of reasons. First, I feel the story with Bleeder covered this serial killer angle in era two, and I don't want to do something similar. Second, era two was able to establish some of the things I wanted this story to introduce, and I feel I can move ahead a little. So, while the lead is one of the same characters I've been planning a while, she's going to be involved in something else, originally planned for the second book. Note that the lead is not the nicroburst character, whom I'll make use of a little later. But yes, the space race is still very much the central plot of the trilogy as a whole. If you want more clues as to where I'm going with this, Isles of the Emberdark might have them for you...

I am going to take a break to do some revisions on the book and work on something else you might find exciting: the comprehensive document explaining Malwish medallions, airships, and the very complicated details of how that all works. (The things that are too granular to go in the books.) I would like to have this done pretty soon, as I promised to release these mechanics once Lost Metal was out--but I haven't been able to find my original notes document about this, and have to reproduce it from scratch. (I've been putting off doing this, as I'm sure the notes file is hiding on my hard drive somewhere. Usually, I don't have trouble finding these things, but this one has eluded me. So I'm just going to remake it, let editorial/arcanists look it over, and get all the fundamental cosmere science explanations in place before this book is ready for beta reads.)

I'm traveling extensively next month (for my anniversary, then a trip to Spain, then probably a drop by to tour the Avengers set in London, since I've got some friends working on the film.) So expect the percentage bar to stay static for a little while, but don't be concerned. I'll be using that time to work on the notes document, and probably to work a little on the Mistborn screenplay. (Don't get too excited; it's not anywhere close to being made. I haven't even resold the rights yet. I merely want to have it ready in case something does happen.)

Peter Ahlstrom

I do get annoyed a bit with the "atium retcon" terminology though. In that case, I consider it to always have been that way; at the very latest that was decided before the release of Hero of Ages. The characters just had it wrong all along—which is something that constantly happens in these books; new information comes along that changes the characters' understanding. Nothing needs to change in the text of Era 1 to accommodate the "atium retcon" because it's completely compatible with what was written; the characters were just wrong. 

Paleo

Going a little bit more meta, I guess, so... you have talked before about having a Big Talk with us after Wind and Truth, because it's like this big capstone to the saga of Stormlight, and even like the entire Cosmere in some sense. Has this actually already happened? Because we had this gloves-off moment after The Lost Metal *gets interrupted by Brandon for a moment, then continues* was it that moment, and do you still plan to talk to us about it?

Brandon Sanderson

No, I mean, I can talk about it here. Part of it is a little bit of... not an apology, but a fake apology. I knew that I had to pretend—hmm, pretend is the wrong term. I've known all along that Book 5 was a cliffhanger and a bit of a downer. I couldn't talk about it that way during Book 1, because otherwise everyone knows what Book 5 is. So I had to talk about Book 5 as the end of Arc 1 and Era 1 [of Stormlight]. As I was talking about it [that way], I realized several years in, people are assuming it to be an end of an arc in the way that an anime arc is the end of an anime arc. Not the way that, you know, it's less—it's not even really Empire Strikes Back. It is the end of an arc, in that, we ambiguously lost? And kinda won, [but] mostly lost? Everything fell apart. Book 5 is "The Stormlight Archive unravels," [and] not the triumphant conclusion. You can see the problem that I have, knowing that my model for Book 5 was Final Fantasy VI, the mid-point, where the world ends. Have you guys played Final Fantasy VI? The world ends half-way through Final Fantasy VI. It was more that, and then we're going to do five books in a post-apocalyptic Roshar. 

And knowing that, and not understanding-- what is the Big Talk? The Big Talk is, on one hand, I'm sorry that I couldn't prepare you for this. Usually I'm pretty good at preparing my fan-base for what's coming—when I split a book, when a book delays, when you need to brace yourselves for something. And I couldn't do that for Book 5. And not being able to do that for Book 5 was a little hard. And so, I am sorry for that. It is the right artistic choice, but that's kind of what the Big Talk is about. It's this idea of, "I didn't intentionally mislead you, but I realized as I was talking about the book that I couldn't say as much as I'm used to saying." And this goes back 10 years, or longer. And I knew people were expecting more of like an Era-1-of-Mistborn end, and then a soft reboot. Not a, "the world completely falls apart, and everybody is left in a terrible situation" end.

I even pulled back on that, I think I've talked about this before. The editor at Tor was like, "You can't release this book, Brandon! You can't! You can't release this book! It's too sad!" And some nods towards that were giving the seon to Shallan, so that she could contact Adolin, because I knew by Book 6 that would've happened. So I'm like, "Alright I can do it now, to take the edge off just a little bit there." There's two Hoid epilogues—one of those was written to try to take the edge off a little bit, if that makes sense. 

But the book's supposed to be a kick to the face, and if we don't have a kick to the face then the Stormlight Archive as a series doesn't work as I have planned that arc. And it's rough because I couldn't prepare anyone for it. I told Peter, "So this book's gonna come out, this is the point—if I'm ever going to have a point where my career could collapse, it is this book. I know what fans want, and I did not give it to them." And this is the first time in my career that I just didn't give it to them. You could argue that I didn't give you Kaladin's oath at the end of Oathbringer, but I just delayed that and gave it to you in Book 4. In this book, I just said, "No, I've [not] given them what they want and I know what they want, and that's going to be hard. It's going to be really hard both for me, and for them."

And the real trick and the kind of punch is, I've never done this before. So my artistic instincts say this is what's right, and I'm going with them. It could be wrong, right? This could be the thing that in twenty years, I'm like, "Oh man, I should've written another book that has the same emotional arc as Books 1, 2 and 3, rather than taking Books 4 and 5 and changing it up so much." And maybe we'll do this interview and be like, "Well, I was the biggest selling fantasy author in the world and then I refused to give readers what they wanted, selfishly and arrogantly, and I really should've just done it." But we'll see. What I've always been saying is, "We will know if this book's a success in seven or eight years, not in seven or eight weeks like we've done with all the other books."

And I don't listen to the podcast, but I'm sure you guys have had plenty of discussions about that idea, and whether that's a good idea, and why it aggravates readers, and the parts of it that aggravate readers and the parts of it that disappoint readers, and things like that. We'll see if my artistic inclinations are correct when you interview me in seven or eight years.

Kaymyth

If it makes you feel any better, there is a small subset of the fandom that thinks it should've been darker at the end.

Brandon Sanderson

Yeah. I'm actually one of those, but I recognized that I just couldn't do it. If I didn't have a six to eight year gap in between, maybe I could've, right? Like, David, if I had a new Stormlight book, already secretly written and coming out in a year, then I could've probably gone even darker with that ending. I could've sucked a little more hope out of things. But I just couldn't, not with the six to eight years [in between]. 

There needs to be kind of this tonal promise that there is still light, and we're still going to find it. And that's at least what my gut said. I do know there is a subset of that—and it's not necessarily even the darkness that is going to be controversial. I think fans do like books to go dark now and then. It's the, "Reading a Sanderson book and not actually knowing where the pacing is going, where the plotlines are going, what you're supposed to expect." When you read one of my books, if you are a close reader—which I assume most of your audience is—I put in all this kind of tonal foreshadowing that tells you what kind of ending you're supposed to expect. And, you can feel the book start to swell and hit there, in the [Sanderlanche]. And you're like, "I've been reading all this time, expecting this thing and Sanderson is gonna deliver" and I do. Sometimes what I deliver is different but I always foreshadow that. Whether it's going to be bittersweet, whether it's going to be triumphant, whether there's going to have a lot of worldbuilding or if it's just going to be action. These are all things that I'm foreshadowing and building to that Sanderlanche.

And this book—again I don't know if people are actually saying—but my assumption is that the response seems to be like, "No no, its not the darkness. The publishers are distraught. The publishers are scared because dark is not marketable." And they're wrong, dark is very marketable. They look at things in [with] the wrong lens. The thing is the not-knowing-where-it's-going; those cues being odd and a little off. The darkness being a kind of darkness where you're going, eugh rather than, "Oh no, they're in a terrible spot but they're going to pull through!" Right? It's less darkness, that's the problem—well it's not a problem, it's what I wrote into the book—and more of a, "I no longer know what this series is, and I don't if I love it anymore." Right? That's the dangerous thing that I'm writing into it.

Like I said I think in a post at some point—when a symphony goes atonal, all of a sudden, unexpectedly, and it seems like nails on a chalkboard. I'm looking for a little bit of that with this book, and that's super dangerous! And maybe stupid.

So, that's what the conversation is. I did that intentionally. We'll see if it's the right idea.

Paleo

This comes from the Staff of the Coppermind. In the Spiritual Realm visions, we meet a man by the name of Elodi. Is this the modern day [El], as he was in his pre-Fused form, or is this somebody else?

Brandon Sanderson

RAFO!

Karen Ahlstrom

(provided in an email exchange with Argent)

Elodi is not the same person as El. The timeline didn't match up. Brandon says he RAFOed it because he couldn’t remember the right answer in that moment. He knew we had talked about it and wasn’t certain what we had decided.

Windrunner

Another sort of meta question: we were just wondering, you know, how are things going with the Ghostbloods? You know, having a good time, is there anything that's kind of particularly exciting or challenging about kind of returning to this world since Wax and Wayne was unplanned, you know, and now you're coming back to something that you've had in your mind for a while?

Brandon Sanderson

Man, it has been so nice to have had Wax and Wayne. A lot of the stuff that I did in Wax and Wayne is stuff that in this book I would have had to do as setup, which has made this book streamline a lot better. We don't have to delve as much into these things; if you want to find out-- if you want to read them, they're in the Wax and Wayne books. If you don't want to read the Wax and Wayne books, then I think this book will still work, but having it there just as this four-book basically history to make this all happen means that I don't have to set up the cold war, I don't have to set up the Bands of Mourning and the strife over those, there's just so many things I don't have to do that as I'm writing this book, I'm like, "Oh, I covered that already; oh, I covered that already, I don't have to do that!" and it's making the write of the book just a lot easier. My biggest concern with it right now is everybody wants this to be a new entry point to Mistborn, right? And I find it clunky to reexplain in these characters viewpoints key ideas from the Mistborn series, and I don't know how well it's going to work for new readers, right? I don't want to delve into what is Allomancy, what is Feruchemy, and kind of, you know, the 101 level stuff, and I'm going to have to see how that flies with initial readers, but it doesn't feel natural in the flow of the text. And maybe I'll find a place to make it natural in the flow of the text and, you know, for marketing purposes, Tor and everyone wants this to be Ghostbloods book 1, not Mistborn book 8, right? But it's Mistborn book 8, I mean, you know? I've been writing in this world for a long time; I'm very comfortable with things and, you know, it's more fun for me to have, for instance, a Lurcher character doing cool things with their powers than it is for me to reexplain how Allomancy works. It's more like, "let's show some Mistings you haven't seen before and see what they can do," and that's fun. So, I'm writing it that way, and we'll see if I need to do any revisions.

Windrunner

That totally makes sense. Did they generally view Wax and Wayne as an entry point, or not so much?

Brandon Sanderson

So, here's the problem, David. And, again, this is something I did pretty eyes-open. Tom Doherty came to me--this is the CEO of Tor, founder CEO of Tor--came to me after I killed Vin and Elend and he said, "Brandon, you can't do this," before the book came out, "If you do this, then there is no series." And I'm like "Yeah, I'm going to jump forward 300 years and I'm going to write something else." And he's like, "No one will read that." And I'm like, "Yeah, but it's the story I'm telling." And to an extent he is right, right? Like, Mistborn ends and lost half the readership for Wax and Wayne, I'd guess. And, you know, that still means they sell pretty well, because Mistborn's one of the best selling books of all time, but you know, this huge falloff, those things terrify publishers. Where I'm like, "Yeah, there's a huge falloff, but suddenly it's a Western instead of a fantasy," It has a different audience, you know, and only a subset of the audience is going to want to jump to that, it's okay, I'm writing this book for them. The others, there's lots of great fantasy books for them to read, right? Not every book has to be for everyone and it's okay for readers to pick up Wax and Wayne and be like, "Eh, detective stuff, not my thing; it's a tone shift, too much of one." Not a problem with that, right? Like, I think the Wax and Wayne books are stronger-written--they get there, Alloy of Law's a little sketchy--but they're stronger written, particularly the one-two punch of Shadows of Self and Bands of Mourning as the two strongest, I think, Mistborn books by actual, like, writing. I think Mistborn 1 is just still the most appealing; it had the best premise, right, and things like that. So I think they're fantastic books, but at the same time, they're fantasy Westerns, except they're not Westerns, they're taking place in a city, so they're fantasy detective novels staring a Western character who's in the Mistborn world. They're weird!

So the publisher's just never been behind Wax and Wayne, and now I'm doing it again, and in their mind we're going to lose half our audience again, right, and that's, you know, terrifying to them that you might half you audience a second time and then he's going to do it again and again. I think we have lost who we're going to lose and I think some people might pick up Ghostbloods; urban fantasy appeals to more people than weird Western does, but this is the piece of art. This is what I'm writing, this is the fun. Mistborn will stand a test of time better because I'm doing these weird things. Same thing kind of with Wind and Truth, right, like doing weird stuff can be disastrous, but when it works you end up with things that stand the test of time. And a lot of the weird things like this, the initial reception is people are really uncertain and they're right to be really uncertain, but then it works over time. That's why I say seven or eight years will tell if that's the case and we'll see with, I think, Wax and Wayne and Ghostbloods kind of the same thing. Over a long period of time, does the fact that I have these powerful artistic inclinations to do something different, is it going to make it stand out, or is just going to be weird? So, Ghostbloods, I guess circling back, is going really well. It's, I mean, just a blast to write in the Mistborn world. It's my favorite just kind of setting to write in, because it is fun to just-- the way the 32 powers kind of crunch together in different ways is really engaging and interesting and you can do quirky things with them.

Kaymyth

Is the dragon Hoid dated and the Vessel Hoid dated the same person?

Brandon Sanderson

Yes.

Kaymyth

So, is it Valor?

Brandon Sanderson

It's Valor.

Windrunner

Oooh!

Brandon Sanderson

But that's a spoiler! I give you guys spoilers. So, there's your big spoiler, yes.

Kaymyth

That was one of those things where like, we're pretty sure, but--

Brandon Sanderson

Yeah, it's the same. So, yeah.

Paleo

So, I have a question about the history of Roshar, because we learn a lot in the visions that they visit, from thousands of years ago. But we still do not know what year zero in the Vorin calendar is. Can you share with us what event they are counting their years from?

Brandon Sanderson

Yeah, I'm going to RAFO that, but not because-- because I don't want to get it wrong. It's in the notes. That's a "Karen, am I remembering right, is this what it is or did I change it three times?"

We actually had-- so my company had the twentieth anniversary of Elantris party today and part of it was trivia, which I didn't participate in because it would have been unfair, but there's at least one question where I answered wrong--I didn't participate on one of the teams, but I was answering for myself--because I had changed it and I'm like "oh, right, I changed his name." Serene's cousin was "Maben" in my head, but I changed it to something like *tries to remember and pronounce Adien* I changed it to an actual Aon-focused name, but his name is "Maben" in my head and it has been and I'm like "oh!" I remember that I changed Galladon's name, because I've used him a bunch since, but I didn't remember I'd changed his name. I change things and my mind still is on the way it was for five drafts, not the way it was for one draft. I get myself in trouble sometimes. I've mostly stopped saying "silvereye".

Paleo

Have you caught yourself writing "silvereye" in Ghostbloods yet?

Brandon Sanderson

No, that one I've basically fixed, but I caught a new one today; Maben is no longer Maben and he hasn't been for twenty years, but in my head he's Maben and I'm like "I'm going to write Maben's book someday" and he's not even named that.

Windrunner

So, we learn in The Sunlit Man that a spike can be made from a previous holder of a Dawnshard and then used to find the next Dawnshard holder in the chain. And, I always kind of figured that that was how they were tracking Sigzil in The Sunlit Man, you know, the Night Brigade. But, we see now that he got his Dawnshard from Hoid and we know Hoid was most likely not killed and had a spike made out of him, so are they using a different method to follow him?

Brandon Sanderson

So, you don't have to kill people to make spikes anymore. Be aware of that, that's one of the big revelations that we had and, by that era, making spikes is a different experience; I'll point that out. If you can get a piece of-- for instance, you could make a spike using some of Hoid's Breath that he's held long enough. You just need to get the right <to him>. But there are other ways to chase the Dawnshard, just like there are lots of ways-- so, there are other ways to chase the Dawnshard as well.

Paleo

Continuing on what we already touched on the fourth moon. Just to, like, set some ground rules, any question we ask about it will you automatically RAFO it?

Brandon Sanderson

Probably, not automatically; you've seen me trying to give you some stuff, but it's hard, right. Giving stuff causes people to have a worse time later on, reading books.

Paleo

I'll try anyway ... Was Adonalsium the one who made it fall to Roshar?

Brandon Sanderson

Okay, we'll RAFO that. I'm glad you're asking, yeah, we'll RAFO that.

Kaymyth

You've said many times that Sel is one of the most difficult planets to get to in the cosmere. And yet, there are a whole lot of Selish worldhoppers running around. Is the planet just easier to leave than it is to get to or is there something else going on here?

Brandon Sanderson

So, there is a specific way that you can get on and off and if you know the people who run that, you can get on and off. If you're going to try to do it on your own, you're going to get destroyed, almost certainly, not completely certainly. So, difficulty inspires people to make solutions, how about that? You can't just wander over to Sel and get onto Sel very easily. But, if you know how, like-- it's a lot easier for me to get to California than to New York, but I go to New York more often.

Windrunner

Braize's core has an interesting metal. Would you consider this metal to be a God Metal or no?

Brandon Sanderson

So, I would not consider it to be a God Metal.

Windrunner

You would not, okay. And that would have been something that would have been set up when Adonalsium created the system.

Brandon Sanderson

This was not placed there by any of the Shards of Adonalsium.

Okay, would I call it a God Metal? *hrmms indecisively* This is where we get into it, right? Like, what do we consider a God Metal? It is not a God Metal of one of the sixteen Shards. There you go.

Windrunner

Well, that's an excellent hint.

Brandon Sanderson

I would not consider it a God Metal of one of the sixteen Shards. It was not placed there by one of the sixteen Shards.

Windrunner

We love to do "what is" here, so if you want to answer "what is a God Metal?" we'd be happy to run through it.

Brandon Sanderson

It depends, like, right now I-- what is a God Metal? Right now I call the God Metals the essences of the sixteen. But God Metal's a term that kind of developed naturally in the community. It's not really a thing that the early in-world characters could even really define. And so, there's something wonky about the moon and bits of it hit the planet, so, you know? There's maybe some myths and stories on Roshar that you might have heard that have something to do with this and some of those-- all of those stories mean something, so there you are.

Paleo

Did any God Metals exist prior to the Shattering, like either associated with Adonalsium or one that would become associated with a Shard or something else like that?

Brandon Sanderson

I'm going to RAFO this one now, Marvin, but I can talk about why on this case. Basically, I do have a God Metal designed for Adonalsium and I do not know if it will work when I write those books. This is one of those things that I'm like *makes noncommittal noise* "I don't know if I want to go--". And so we will see if I do or don't, right? A lot of that stuff from Yolen's a little up in the air until I write Dragonsteel Prime, because there's been so many iterations, right? Not Dragonsteel [Prime], when I write actual Dragonsteel. Like in Dragonsteel Prime, we've had the weapons designed and at various points even in Dragonsteel Prime's chronology, I had either the father god dead or not dead yet and that the weapons had been locked away. But then there's children gods in Dragonsteel Prime that I, you know, abandoned. And so, I'm staying away from that one. If it's relevant, it will be relevant in Dragonsteel and you'll know very quickly on. Right now there is, but it's very loosely tacked to the board.

Kaymyth

So, in one of Szeth's flashbacks, he's seen praying to a stone which gives him the impression it's foreign to Roshar, and I'm going to read a couple of descriptions.

Brandon Sanderson

Okay.

Kaymyth

"...brilliant stone: two feet across with a crystal vein running through the center. It opened at one side like a mouth, the crystal forming teeth." (Wind and Truth)

"At the direct middle of the circular pattern, the crystals curved inward, following a pocketlike hollow in the wall. Here, the crystals grew long, each one having a jagged, sharp edge. Like teeth lining the maw of a stone beast." (The Final Empire)

The descriptions bear a striking resemblance to each other. Is Szeth praying to an atium crystal?

Brandon Sanderson

Hm! Excellent question.

Windrunner

According to the epigraphs in The Way of Kings, the Palanaeum is suggested to not be the first iteration of this library; it's mentioned that there was a "firing of the original Palanaeum." Some of our close readers were wondering is this related to the Hierocracy and Vorinism's desire to get rid of historical records, like the Knights Radiant and the Voidbringers, or is it related to something else?

Brandon Sanderson

I'm going to RAFO that for now.

Kaymyth

Taln tried to kill Cultivation for unknown reasons, with a weapon he got from Kalak. How close did he get to killing her and what sort of weapon was this?

Brandon Sanderson

*a few seconds of incredulous silence*

You think I'm gonna answer that? Wait for Taln's flashbacks!

Kaymyth

We are obviously fishing for whether or not Taln got his hands on a Dawnshard! *questioners laugh*

Brandon Sanderson

Wait for Taln's flashbacks! Maybe I'll answer then, maybe I won’t.

Paleo

We are hoping you will.

Brandon Sanderson

RAFO! I'm glad you asked it. RAFO.

Paleo

So Hoid claims that Retribution's Ascension was pretty unlikely to happen and basically didn't see it happening. But we see some other characters like Moelach and the Death Rattles sort of predicting it, Renarin sees it happening basically. Does that mean that Hoid is just worse at seeing the future than he thinks he is, or...?

Brandon Sanderson

Well, yes, he definitely is worse at seeing the future than he thinks he is. But also, the future is...finicky. And things like that, so yes. Hoid is very good at getting where he needs to be. He's much worse at actually reading the future and you will see this with him. There are other point where you can see this with him. He is very good at play acting, but yeah.

Windrunner

One character dynamic that featured a little more heavily in the early books was the realization that Kaladin and Shallan have, independently, that Kaladin has killed Helaran, you know? That's kind of a very big deal. But it's not something that the characters have ever really gotten around to discussing, at least on-screen, and so is there a reason that you feel like they weren't ready to get to that and is it something you foresee that they'll ever get to or is that not an angle you're interested in exploring?

Brandon Sanderson

I still have that on my list of things that we could get to, but this is character stuff and so I don't force it. And part of the reason that I haven't forced it is Shallan doesn't confront problems and Kaladin has been breaking. And it's just another thing to deal with, and I don't think either of them want to deal with it.

Will they? Keep in mind these sort of things I try to treat very naturally like people do and sometimes you just don't talk about it. Sometimes you do. It'd be good for them to talk about it. Will it happen? It's really going to depend on if I find the right situation that it feels like the characters would do it. This is where the Brandon the outliner goes out the window and Brandon the write it by the vibe comes in. This is just one of those things that's kind of looming over them and they both kind of know it.

Kaymyth

So, Kalak comments that Shallan is able to draw on Fortune because she has two Nahel bonds. Is this truly what's going on or is it instead because she is the daughter of a Herald or is it maybe a mixture of both? 

Brandon Sanderson

Yeah, definitely some mixture going on there and some unique Resonances going on with Shallan. I would say anyone who is trying to theorize in world about what is going on with Shallan, they don't like, it's a pretty unique case and they are spitballing, maybe poorly. Whether it's Hoid or anyone else. Weird stuff is going on with Shallans spiritweb and it is causing all sorts of fun for me.

Kaymyth

A lot of people were disappointed when Cultivation just yeeted herself off Roshar and fled. Is what happened what she expected to happen, or was this like her Plan C, her Plan F, Plan Z, like how many layers were there?

Brandon Sanderson

So, Cultivation does have more plans, but let's just say if Cultivation were as capable of handling Odium as she thought, we wouldn't need a book series.

Kaymyth

Oh my.

Brandon Sanderson

That's one thing to keep in mind, right? If Honor and Cultivation could handle Rayse, could handle Odium really, the power behind Rayse, The Stormlight Archive wouldn't need to be written. And so, I wouldn't count Cultivation out entirely, but I would say that Cultivation is part of the problem, not the solution, and that's how you should be looking at Cultivation. I mean, there's some good reasons that some members of the Heralds did not get along with her. And, you know, this is one of the problems that I run into in writing this book series is I want the viewpoint characters to be the ones that are solving problems, not necessarily the people who we can't really grasp and understand. And so, from the get-go, Cultivation I would, as I said, I consider Cultivation, you know she's part of the solution, but I also consider her part of the problem. So, there you are, I'll leave you with that. You are very much allowed to be disappointed in her and you should be.

Kaymyth

Wind and Truth ends with "The Postlude to the Stormlight Archive". What prelude does Stormlight 6 begin with?

Brandon Sanderson

I'm calling it The Voidlight Archive, but I know it's not--it's technically like Warlight or something like that, but in my head all along, it's been The Stormlight Archive and The Voidlight Archive. That's not a title that will be on Book 6. Book 6 will not be "Book 1 of The Voidlight Archive". But internally, I've always viewed them as The Stormlight Archive and The Voidlight Archive.

Kaymyth, Paleo

Interesting.

Brandon Sanderson

Yeah, Peter hates this. Peter's like, "This is just confusing, Brandon. Why--what are you doing?" But I'm like, "I got a prelude to Stormlight, I got a postlude, and then we get one prelude to The Voidlight Archive and a postlude to The Voidlight Archive. It works!" And he's like, "But it will be book 6 of The Stormlight Archive!" Like yeah, that's the series name, y'know. So, we'll see if they let me get away with it, meaning kind of editors, beta readers, when they see that, they're just like, "this is too weird, Brandon". But that's what I named the two five-book arcs in my head. 'Cause we don't have Stormlight anymore, so...

Kaymyth

But is there any specific thing in that book [Wind and Truth] that you would change if you had had a little more time?

Brandon Sanderson

The problem is, time wouldn't really do it, right? Like, part of the thing that's gets me to-- revision for me works best when I have feedback and I'm like, ohhh, and that feedback can send me. There are a few things that I would revise if I could magically have-- like, for instance, I think that the Blackthorn reborn would be better as something that appears in book 6 as a mystery with the same foreshadowing for what happened here, where you could pick up book 6 and you're like, "Wait, Dalinar died, what is this Blackthorn thing?" That would have worked better if I had sliced out that little scene with Taravangian. That's probably the main one that I would revise if I had the chance. That was a pretty late addition and so maybe if there had been like another six months to do another round of beta reads, somebody would have said something that sparked that for me, though I'm not sure I would have revised that.

Knowing the feedback I probably would have taken another pass at some of the modern language; I know that's bothering people. Just some of the things like "dating" instead-- I didn't think it was in me when I wrote it, and getting the initial feedback, any more so than normal for me, but I bet unconsciously my language had been drifting more modern because of writing Skyward and some of the future cosmere stuff like Sunlit Man and because of that I've been drifting more modern kind of unconsciously. And so knowing that that's a stumbling block for some readers I definitely would have looked at that and been like, "alright, where am I going too modern in some of the language," so I would revise that.

Is there anything else I would revise? I might, I think I said this on Reddit, I might have brought out a little bit more of Jasnah's trauma in her sequence. I just don't want to get into that too much, because I need it for the back five. And once again, if I do too much early on then it ruins story arcs for later on, because yeah. And so I've been, you can tell, very delicate with talking about Jasnah's trauma and who she is and her flashback sequence and things like that because if I talk too much about it then we have a Venli problem where we get to the book where the flashback sequence and you already know all the stuff and so the flashbacks just aren't as interesting because they don't have the kind of mystery reveal along with the kind of character arc stuff and they just don't hit as powerfully. But I might have brought out the trauma a little bit more, because that really helps explain what's going on with Jasnah.

So yeah, there's three for you. They're always these subtle things, these subtle tweaks, right, that after the fact, like with Words of Radiance when I'm like "Oh, I bet it would work better if I did it this way" and things like that. But "art is never finished, it's only abandoned," alright, the famous quote goes, you know. I wonder if Lucas hadn't ruined it for us if going through and doing a kind of director's cut revision after thirty years would be a thing that people liked, but we're all so wary of it and we-- you know I did that experiment with Words of Radiance and I'm like "no, I don't like this, people don't know what is canon and what isn't, it's too confusing."

Kaymyth

Though the gap between Rhythm of War and Wind and Truth had been the longest gap of Stormlight books so far, the pace of writing and revision was pretty breakneck. Considering that we wanted to know some of your thoughts on what you are most proud of in the book.

Brandon Sanderson

Most proud of in the book, interesting. Yeah, the writing was breakneck, though it is similar to all the previous ones, right? It was longer cause I took the extra year to work on the, to getting the Year of Sanderson ready. And that is really what delayed us on that one. What am I most proud of in Wind and Truth? I am really in general proud of how well I can get the foreshadowing to work across fifteen years. There are stumbles when you are doing something across fifteen years. But I feel like, particularly if you compare to a lot of my contemporaries, I am pretty good at that. And maybe for the people of this podcast a little too good at it. Though there are lots of things for the back five that you haven’t picked out yet, so at least those secrets are still safe.

I am pretty proud across the entire five books of what I did with Kaladin. Kaladin’s arc across the five books is when I was building it--you know you are never quite sure when something is going to work. And I am like: is it right, like, if i am going to have Kaladin in book four be PTSD Kaladin and book five be recovery Kaladin, is that actually giving it a work in the book? You only get a couple of books of Kaladin being on his A-game before it crushes him and as a writer, the way the arc looks and comes together and having a book where he is dealing with it and recovering, was really satisfying to write. You don’t get to do that as a writer very often. You usually have to have someone go through an arc in a book and then kinda come to a catharsis by the end of the book and that is their arc. What you don’t get to do is spend fifteen years, you know, cracking a person and then having them figure out how to put themselves back together and it is something I have never really done before. I got to do it a little bit in The Wheel of Time with Rand and so I am really satisfied with that. What else am I very proud of specifically with this book? I mean I could go on for a while, it is one of my babies.

I do like how the pacing doesn’t feel like pacing of any other book I’ve done. And I know that is controversial, for some in the community. They don’t love the pacing. Again, kind of as an artist I am like: I have done all these other types. Can I do something like this? And I feel really pleased and proud of how that all came together. And you know, the themes, I am very proud of how the themes of The Stormlight Archive developed over the fifteen years and finally kind of came together and came to a head. It was quite a book to write. From kind of an artistic standpoint.

Windrunner

Kind of keeping in a similar theme with branching paths and decision making, one of my favorite things is when you talk about kind of your processes, when you hit those big decision points where you're like "okay, I could go down this path or I could go down this path." And one of those that you've talked about is whether you wanted Taravangian to become Odium or whether you wanted Rayse to stick around as the villain. And we know that Rayse always had this kind of prohibition in his mind against picking up a second Shard, because he did not want to risk kind of adulterating himself; he wanted to be just of Odium. And we see now that kind of the way that this book resolved kind of required Retribution to form. If Rayse had remained Odium, would Retribution have been the direction you had gone or would he have done something else?

Brandon Sanderson

He would have done something else.

Windrunner

Okay. Can you elaborate at all?

Brandon Sanderson

You guys theorize on that, what would have happened. Let's just say Rayse remaining Odium was always--how should I say this, it wasn't always--it very quickly became the underdog of what I would do as I wrote Taravangian more and more. Be aware that Taravangian in The Way of Kings Prime, the character I wrote, didn't work as well as new Taravangian. I felt like the old Taravangian was too gimmick--I can't remember what I called him--was too gimmick, too little actual character. And the option to keep Rayse around was really there in case Taravangian didn't develop the way I wanted him to. But he did. And the other thing that I was checking for was a mood check of "has Odium lost his bite, now that he tried to convert Dalinar and he tried to convert Kaladin?" And the answer that I came up with was yes. Dalinar effectively defeated Rayse in Oathbringer and then in Rhythm of War Kaladin put the nail in that coffin. His ideology, his way of being had been summarily rejected by the heroes, to the point that he was just not a threat. When someone who wasn't willing to take the other Shards could not be a threat on the level that I needed him to be and so that option disappeared quickly, shall we say, by the time Oathbringer was happening. But it was an option, it was an option as I was writing Rhythm of War that I could have gone with.

Paleo

Going off you mentioning the Blackthorn, how are you thinking about balancing this idea of the Blackthorn continuing to exist or exist again with the risk of undercutting the meaning or significance of death in the cosmere? Like, we should think of Dalinar as being dead now, right?

Brandon Sanderson

The Blackthorn is not Dalinar and it'll be very quickly obvious what I'm planning to do with him. If I were you, and again I don't want to give too many spoilers; this is about a book-- if I were you, I wouldn't worry too much about the Blackthorn's place in the story. The Blackthorn has some very specific things I'm planning to have done and I think when it's all said and done, you will not have had to worry about that. The Blackthorn's not Dalinar, any more than two twins are the same person, if that makes sense, and even more, in a lot of ways, divided off. The Blackthorn is an idea, this Blackthorn is a spren and not a person, and letss me do some things. But again, would have been stronger, I think, if you just saw this mysterious thing show up in book 6 and you're like "wait, what?" because then you would see the implications and what I do with it at the same time. So yeah, oh well.

Windrunner

That's totally fair.

Brandon Sanderson

Don't stress about the Blackthorn is what I'd say to the fans.

Windrunner

One of my favorite moments in Stormlight 5 was the interlude with Cusicesh where we see the Iriali leave, which was a really kind of cool way to tie back to Way of Kings, I thought. But one of the things that we were curious about with Cusicesh: It seems like he's serving as a guide to wherever they're going next, maybe Lumar, maybe somewhere else, and is he the guide for just this leg of their journey or was he with them when they came to Roshar and he is kind of leading them on?

Brandon Sanderson

So, he is the guide for this leg of their journey, but he is not actually a spren.

Windrunner

Not actually a spren, okay. I guess Axies gets some things wrong sometimes.

Brandon Sanderson

Axies would have to categorize him correctly as a spren-adjacent entity, which is how he's categorized seons when he's met them.

LadyLameness (paraphrased)

In Rhythm of War it is noted that the honorspren have a large container given to them by the Ire, in which they store Stormlight. Does it actually contain Stormlight, unkeyed investiture, or something else?

Karen Ahlstrom (paraphrased) (paraphrased)

Karen said it is likely Stormlight in the container but wouldn’t be surprised if there is also unkeyed investiture in the room. 

LadyLameness (paraphrased)

If it is Stormlight in the container, would it have been affected by Retribution removing all Stormlight? Would perfect gemstones have been affected?

Karen Ahlstrom (paraphrased) (paraphrased)

*very long pause* Karen said she did not know in terms of the Ire machine and KAFO'd the question about the perfect gemstones. Regarding the perfect gems, she did add that if Brandon asked her whether he could have them interact differently with Retribution's removal of Stormlight, she would not say no. 

#1 Nuclear Salt Watergun Enjoyer

Chat, I am trying to figure out if the slugs from skyward can pass the harkness test

Janci Patterson

I had this conversation this weekend. I say no.

Janci Patterson

I don't think they have equal to adult human intelligence.

Brandon Sanderson

My plan was for Renarin to be gay when I wrote Way of Kings Prime in 2002. 

WaitUntilTheHighway

I feel like Rock was one of the best characters in Kaladin's world, and it seems like he was 'sent off' for literally no plot-relevant reason. It's like it's a TV show and the actor died so they had to get rid of the character. I'm bummed because I'm almost done with RoW now and there's just no more fun camaraderie among bridge four, largely thanks to Rock being gone. He was one of my faves.

Brandon Sanderson

As others have said, Rock will get his own novella--but that's not why I sent him off. Even if there had been no time for a novella, or no plot-relevant things for him to do, he would have left.

I need Bridge Four to be alive. Their time together, as a cohesive unit, was a powerful moment in time--and you can always reread the first few books to experience it again. However, in life, nothing remains the same, and time draws people apart. Rock has a family, a people, and responsibilities. He has to be about those, now that he's free from Alethi slavery.

Bridge Four, as it stood in books one and two, had to eventually evolve, and some members had to go their own way. That's life. For all Kaladin wanted to grasp for it, hold it together by force, he couldn't--just as we can't keep rigidly hold of the friends and family we love. Time inevitably divides us.

Each book of the Stormlight Archive must be something new. New tone, new feeling, evolved from the previous volume. They are too big, too weighty, to be allowed to repeat the same plot cycles, same emotional beats, or to allow the characters to stagnate into repetitive playacting of the people they were in the first few volumes. As readers travel through the series, I intend for them to realize this, though it may take a while for it to really click.

grandpa_fathom

As I’ve read Brandon’s books, I smile every time I come across allusions, borrowings, and references to real-world influences. I’m hoping the community can help me flush out this list (speculation welcome).

• Kelsier as a Christ figure resurrected & starting a religion
• Dalinar as Genghis Kahn
• Shards as the Greek (or insert your favorite) pantheon
• Wit as a Shakespearean fool
• Chana & Shallan as Abraham & Isaac
• Nohadon as King Benjamin
• translation lenses (Alcatraz) as urim & thummim
• Iriali exodus as the Mosaic exodus

Brandon Sanderson

• Kelsier as a Christ figure resurrected & starting a religion (More that he is trying deliberately to ape off of similar stories from Sazeds myths. Then ended up living, kind of, and now has to work with what he did.)

• Dalinar as Genghis Kahn (More Subutai in military strategy and position. But I did intentionally include one Genghis myth for the history lovers in Dalinar's backstory. This is because one inspiration for the Alethi is the Yuan Dynasty, where the Mongols had to learn to rule China.)

• Shards as the Greek (or insert your favorite) pantheon (Kind of, kind of not. More uplifted humans in over their heads. I wasnt looking at panthons here as they don’t really involve one another.)

• Wit as a Shakespearean fool (Yup. See Lear and 12th night)

• Chana & Shallan as Abraham & Isaac (Not intentional, but I can see it might be unconscious.)

• Nohadon as King Benjamin (I doubt he was as silly, but this is an influence and a concious one.)

• translation lenses (Alcatraz) as urim & thummim (Also not intentional. When I think about powers, I just wish I could speak and read all languages. But maybe there is something unconscious here? For all this looks like a slam dunk, I really think it was just me thinking of powers I wanted, and relating them to wearing glasses.)

• Iriali exodus as the Mosaic exodus (Also not deliberately done...but you probably have something here. This is almost certain part of the inspiration.)

Brandon Sanderson

Lisa started awake. In bed. Her bed. Alone. Had it been a dream? Hand to her head, she sat up, then glanced through gossamer drapes at the rising sun. Clock on the nightstand said 6:37. Three minutes before her alarm was set to go off. She flipped off the alarm and meandered toward the bathroom, memories of one last investigation with Dane before he got a job in another city. Gunshots, a white light? The device is on a timer.

(aside to audience) That was a quote by the way.

(back to reading) She waited for it to fade as dreams always did. She'd fallen asleep in her clothing though, because of the long night spent working to make up for ditching the others? But if so, how had she gotten home? She didn't remember, but in her morning daze that didn't bother her very much.

She showered and got ready. By the sounds of the plates thumping below, <Nova?> was already up and making breakfast. That was odd, as Nova was not a morning person, but maybe that was changing now she was 14 and heading to high school. She'd gotten up on her own a few days ago too.

Lisa walked down the steps, feeling an ethereal sense of displacement. That dream hadn't faded. She remembered it, as if it were real. She emerged in the kitchen where Nova was scrambling eggs at the stove, dressed in her plaid school uniform. The girl wore her black hair straight and long, like her mother. She had a ready dimpled grin for Lisa, though she turned too quickly to show off. Her eggs, still in their pan. Her elbow knocked a box of cereal off the counter, just like she had a few days ago. Puff cereal scattered across the floor and some rolled up to Lisa's feet. She stared at it, dumbfounded, remembering --

"Oh, shi -- I mean, shoot. Sorry, mom." (aside to audience) That's in quotes, or italics.

"Oh, shi --" Nova said, "I mean shoot. Sorry, mom." She put down the pan and scrambled for the broom. 

This had happened already. On Monday. 

"Nova," Lisa said, "is this some kind of prank?"

"No, didn't mean to, I'm nervous about practice, sorry, sorry." She moved to clean but Lisa took her by the shoulders, looking her in the eyes. The girl tugged against the grip. Eyes to the side, fingers twitching, as if trying to go through sweeping motions.

"Nova?" Lisa asked, feeling legitimate horror. That look on her daughter's face was so unnatural. It was as if she didn't even see Lisa. "Nova!"

Nova focused on her just for a second. Then her body started jerking again, and her head turned. As soon as Lisa released her, the girl jumped to clean up in a flurry before gobbling up the eggs.

"Sorry mom," Nova said, "I left you some though. Early morning practice for the recital, remember?" Nova beamed, back to her normal self, then took Lisa's hands. "You're going to come, right? Even if work is busy?"

"Coming? I already went." It was distinct in her mind, the sounds, scents, smells of the auditorium. Jazz piano echoing through the hall fading to applause. Could she have dreamed that?

"Not just the practice," Nova said. "The actual recital."

"Which is..."

"On Wednesday!"

"And today is..."

"Monday!" Nova rolled her eyes. "As if you don't have every minute of your life scheduled."

"You... flub the ending of Amazing Blue."

"I won't flub anything!" Nova said, letting goand grabbing her backpack. Then she paused before digging in her pocket and pulling out a red coral bracelet. Lisa's hand went to her wrist, and the identical one she was already wearing.

"Here," Nova said, giving her the new one. "I made this for you." Then she bit her lip, getting out a second. "I made one for Dane too. Will you give it to him, to help him think about us?" Nova glanced down, holding them both out.

"Nova," Lisa said, holding up her hand with the bracelet she was already wearing. "Nova."

"I know, mom," the girl said with a sigh. "I know that you two... but please just give it to him. It's important that I try."

"Nova, look at my arm." She tapped the bracelet, and Nova looked at it for a moment, cocked her head, then shook herself like from a dream.

"I know," the girl said, with the exact same sign and following intonation, "I know, mom. I know that you two... but please just give it to him. It's important that I try." Then she withdrew her hand, dropping the bracelets, letting them drop on the floor. "Thanks!" She said, as if Lisa had taken them. "You don't think Dad will come this year, will he?" Lisa stood, feeling stunned. "That's good," Nova said after a moment. "Bye!" She scampered out.

Lisa sank into her chair, feet disturbing cereal puffs that Nova hadn't fully cleaned up. How... how had Lisa gotten home last night? With a frown she called Dane, but it went immediately to voicemail because of his stupid smartphone with its anorexic battery. She started a text but as she did, one came from Noah's father. I suppose it said, "I'll live with that." She frowned until she remembered texting him a few days ago, promising to record the recital for him, but suggesting it would be a bad idea for him to come in person. She scrolled up and found the exact text he'd just sent, dated 5:52, Monday. Just like this one was. Same date, same time. 

Heart beginning to beat more rapidly, she ran upstairs and checked the bed and then the floor next to it. There, Dane's gun on the floor, the one he'd given her out of the back of his car. She'd been holding it during the explosion. Shaking, she scrambled downstairs and made a furious drive to headquarters, arriving around 7:30, having beaten most of the traffic. She burst in, hurrying to her office, rushing up to <Rona> who was early. Something she never did on Tuesdays or Thursdays, when she dropped off carpool for her kids.

If she was there... "Rona?" Lisa said. Rona kept typing. "Rona!" Lisa said, feeling something in her start to crack. "Please!" The woman shook, then glanced at Lisa, and started.

"Director! You should know better than to sneak up on an armed woman like that." She said it with a smile, but Lisa's nerves were fraying, and Rona frowned soon after. "Director? The... <Goffrey> case. We're close," Rona said. "Just need one of the Kim brothers to take the plea. I'll have a testimony on your desk the moment it happens. You'll have to talk to the DA though. Good luck with that, Director."

Lisa stood up, feeling a cold down her bones. Nearby, none of the officers passing were even looking at her. It was as if she were invisible. Even Rona went back to her typing absently and started again when she turned and saw Lisa there, as if she'd forgotten. Davis walked in with coffee for his team. Monday was his day. Whiteboard had a perfect replica of Lisa's notes from Saturday, the one she'd raced on Tuesday night to outline their battle plan for the actual arrest. She glanced at her office. Glass was cracked in the door. They'd replaced that on Monday.

Oh, heck. "Dane," she whispered. She put a hand on Rona's shoulder, who was startled again. 

"Director, you still worried about the case?"

"Dane. Is he in?"

"Director, it's before noon. What do you think?" 

Lisa began walking out faster with each step until something even more unnerving happened. People started turning toward her and, noticing her, smiling and waving, suddenly saying, "Good morning!" because... because it was 7:48. That was around when she normally arrived at the office. Probably the exact time she'd arrived on Monday, the... other Monday. Now that she was supposed to be here, people suddenly began interacting with her, like normal. But this was anything but normal. She fled.

Back to her car. She drove to Dane's apartment, which wasn't too far, but there was more traffic on the road now and people kept almost hitting her. It happened five times. After the fifth car swerved away and honked, Lisa parked and walked the rest of the way. She had to try twice to get Tim, the bean pole of a doorman, to notice her.

"Ah, Ms. Lisa," he eventually said.

"Dane," she said, sweating, "has he come out today?"

"Nope, Ms. Lisa," Tim said, "after all, it's before noon."

"Yes, I know." She rushed past the broken elevator -- the thing had been out of service for years -- and rushed up the steps to the second floor. Breathing deeply, she there forced herself to adopt a semblance of calm. Something had happened to that house with the device. Something incredible. Something mind-breakingly strange. Either that, or she was going insane. It it had happened to Dane too, would Tim have even noticed him leaving? She used the spare key -- she kept meaning to give it back -- to get in. The place smelled of a distinct scent. Call it l'eau de bachelor. Mingling orders of leftover chinese, beer cans in the recycling, and dirty clothing piled in the tiny laundry room. Dane wasn't slovenly. In her beat days, she'd seen slovenly and beyond. He was average, at least for people who lived on their own and didn't often have visitors.

She pushed open the bedroom door, and... he wasn't there. Bed was messy, but that didn't mean much. His phone, however, was on the stand. He'd forgotten to plug it in, and she got a dead battery sign when she tried to turn it on. She couldn't imagine him going out and forgetting it, but maybe... if he was confused, like she'd been when first waking? Only his sidearm, sidearm precinct deputy weapon FN-509, hung in a holster from a peg by his bed. He only locked it away when someone was staying over, and he'd never leave without it.

Feeling confused, exhausted, and overwhelmed, Lisa sat down quietly on the corner of his bed. Somehow, impossibly, that white light had sent her 3 days in the past, but where or when had it sent Dane?

[uncompleted, pick up at 9:21]

Mybrainisnotworking_

I remember Sanderson saying to ask him what he wrote on a specific date, because that was a segment that he was particularly proud of. Unfortunately I don't remember the exact date he mentioned, but what do you all think he might be referring to?

-Ninety-

According to u/PeterAhlstrom it was chapter 143.

Peter Ahlstrom

The Dalinar section of chapter 143. But he ended the day writing the Taravangian section of chapter 145. Anyway it was the end of the Dalinar sequence, starting as early as the Dalinar section of chapter 137 but possibly a couple chapters after that.

Adam Horne

Phillip Denny from the chat says, "What was the storytelling purpose for not allowing the protagonist to regain his armor by the end of the book?"

Brandon Sanderson

Good question. Excellent question. You might guess that as I started working on it, I'm like, "Oh yeah, this is just a thing that will happen. He'll get his armor back." And the more I wrote, particularly as I did heavy revisions on the character, the more I realized that the whole armor, the platings thing was a huge crutch for him, because who he was is this person who kept trying these things and never giving them his all and relying on the trappings of a job. Like, "I want to be a cop because being a cop is like my friend does and that's cool." But then getting into it and not really giving it his all. And I realized by the end of this book he needs to give it his all, and he can't be relying on basically anything. Not even the crutch that is in most Sanderson book [where] you would have this moment where he gets his armor back and goes all awesome. And I love scenes like that, don't get me wrong, but it felt really wrong for this book, because it just didn't match it.

I don't want to fall in a rut of doing things the way that I do them just because they're the way I do them. One of the last revisions I made of the book was cutting [him] getting any of his armor back at all, really. The original intention [was] a bit [for] him to get it, and I cut that. I did a big revision to make that work, and I love that revision. Leaving him without -- leaving him just completely exposed and having him go forward anyway, was the thing he needed as a character to really fulfill his character arc.

It's one of the last tweaks I made, and the tweak and revision that I'm most pleased with.

Adam Horne

And last question from jamcdonald120. "How does travelling up the dimension stream give the Wights actual magic? Shouldn't they be less powerful than they were in the original dimension, not more powerful?"

Brandon Sanderson

This just depends on a lot of factors that I'm going to RAFO for now. We'll end with a nice good ol' fashioned RAFO. I hinted earlier, but we'll give this one a full straight-on RAFO. If we do Titanic 2: Sink Harder, we will try to explore some of this some more.

Adam Horne

This one is from heavyraines17. "What history meta-joke was your favorite to write, and why was it 'What is a zero?'"

Brandon Sanderson

It was "what is a zero?" I've always been fascinated by-- how could people not have a concept of zero? I can get negative numbers not really making sense, but having no concept of zero as a mathematical concept was really interesting to me. That joke was a lot of fun. Otherwise, it's less -- the jokes I had the most fun with were the 'marketingspeak' jokes in the Interludes. The stuff historically that I had the most fun with were was bringing out some of the things I'd gotten through my research that have been there, present, in the back of my head for a long time.

The fact that people in olden days did not have mouths full of teeth rotting out, which a lot of people assume they did. They wouldn't have straight teeth, but generally our archeological record shows that you might lose a few teeth, but maybe not, because you're not eating a lot of foods that destroy your teeth. Colors and dyes and paints being really vibrant is another things that we often get wrong, particularly when you see a depiction. If you go watch a depiction of any Anglo-Saxon or Viking sort of era thing, what are you gonna see? You're gonna see dark, gritty. You're gonna see lots of browns. You're not gonna see orange. You're not gonna see some of these things that they legit had, and you're not gonna see really good hygiene. A lot of the Vikings in particular had really great hygiene and were not these -- not like we depict them. They were brutal, you did not want to be where a Viking ship can get to you, but there's all these sorts of things that over time, you pick up reading historians' accounts and things like that.

It was really fun to bring some of this into the story.

Adam Horne

This next one is from Fakjbf. "In Frugal Wizard, which magic system did you enjoy developing more: the wights', the gods', or the augmentations?"

Brandon Sanderson

I would say that it was the Wights for me, because I was able to dig in some actual Anglo-Saxon kind of mythology and play with that. The Gods are kind of barely there in the rune system, but the rune system's the Wights. Just reading up and really enjoying that time period and seeing what they believed. One of my favorite things to do with fantasy is be like, "Okay. What if mythology or lore or folk magic really did work, and worked in a way that works with my storytelling sensitivities?" This is where the Warbreaker magic came from, and that's where this magic came from. And I had a lot of fun looking at the historical record, reading what landswights [Land Wights] were like. Looking at mythology and trying to build something out of it. That was probably my favorite part of the book, doing that. Big surprise, the magic system was my favorite part of the book.

Questioner

So, can I -- any problem with me selling spheres?

Brandon Sanderson

You can sell spheres without a license, as long as you don't actually reference us or use our art. [If] they're just fantasy spheres --

Questioner

Okay.

Brandon Sanderson

-- with gemstones that glow inside, I don't own a trademark on that or anything like that. For anything that says, "licensed spheres from the Stormlight Archive or Brandon Sanderson", you would need a license which would have to go through my licensing team and all of these things, which is a super big hassle. You really don't want to have to do that. So as long as they're your own thing, then you're fine. We have a fan art thing on my FAQ which explains how this works. We are happy for people to create things and sell them, and things like that. But you can't use our art and you can't imply a relationship between yourself and me.

Questioner

Okay. 

Brandon Sanderson

Does that make sense?

Questioner

Yeah.

Questioner 2

So you go to faq.brandonsanderson.com

Brandon Sanderson

Yeah, you just got the word of mouth version. [The FAQ's] version is what our lawyer drew up.

ado-will-rem-our-plight-ev

In the Frugal Wizard preview you released last year, Runian was a fish-hater. Now he's a fish seizer, why the drastic rise in his fish affinity?

Brandon Sanderson

[A] couple reasons: One of the reasons was that early feedback I got when I did beta reads and things like that is I wanted to make sure that the tone promise at the start of Frugal Wizard was correct. And it was a difficult needle to thread because it is a humorous book but not a comedy. And I was getting feedback that made it feel like the opening chapters were just a little too ridiculous, and that was giving a wrong sense of the tone of the entire book. So I looked at those first few chapters and said: "Alright. Can I pull back on non-sequiturs, just ease back on them? Can I focus a little less on things that are just, you know, silly is the wrong term, but things that were non-sequiturs", and as I re-read those opening l go way to much on this fish idea—it's not relevant to the book, it's just giving the wrong promise—and so that was a tweak I made to try and ease that back a little bit, and the hating fish was a casualty of that. Anyway, I feel like I got that tone better. I'm not sure if I 100% nailed it, but yeah.

Adam Horne

The next one is from LewsTherinTelescope.

Brandon Sanderson

Hey! Our old friend.

Adam Horne

"Is there a sequel planned to Frugal Wizard? The main character's stories seem wrapped up, but that epilogue."

Brandon Sanderson

If there is a sequel to Frugal Wizard, it will almost assuredly be Titanic 2: Sink Harder, as we've talked about on the podcast, and we would find a way to work in some nods to what's happening in the Greater Universe there. Seeing as how Frugal Wizard is in the same universe as A Night of Blacker Darkness by Dan Wells, and in the same world as Alcatraz Versus the Evil Librarians -- the same universe -- by me, all connected by Cecil [G. Bagsworth the Third] who's in all three of them. Dan and I have that shared character that we've both been using for decades. It would probably be Titanic 2: Sink Harder. I love that title. That title just cracks me up. It's probably too much of a joke, right? Like, do you go into the bookstore and see a book that says Titanic 2: Sink Harder, and think that that's a real book that you want to buy and read? But, anyway. 

Adam Horne

This next question is from our good friend Katie Payne.

Brandon Sanderson

Ooh! Yes.

Adam Horne

She says, "I really want to ask Brandon about John's low self-esteem. What was [Brandon] thinking about for the source of that?"

Brandon Sanderson

It was a character attribute that I hadn't delved into, that I found matched him really well. It made him feel distinctive. He, again, is not your standard Sanderson protagonist, and I like how that worked. It gives a different feel and tone to who he is and to his voice and to the storytelling. But, Katie, [for] almost all of my characters, it's a natural outgrowth of as I'm writing and exploring who they are, I lean into certain things. Sometimes I pull those back and revise them out, and other times that leaning into works. And this is one I leaned into that ended up really working for him.

Cosmere.es

With Dan, you are also expanding other books and characters. For example, it's not been yet published in Spanish, Dark One, but I read the graphic novel and I really enjoyed Mirandus. The world is super cool. You are working now on the novelization of the graphic novel. But, my question is, is this like the novelization of the whole [story], or just the first of the graphic novels, or would it be the three of them?

Brandon Sanderson

Basically, the graphic novel turned out really nicely, but it deviated a lot from my timeline and it kind of went off in its own direction. So, I went to Dan and I'm like, "I really like my outline. I want a version of Dark One that is much closer to what I envisioned." He and I chatted about that, and that's what we're writing. We're going back to my original outline, which is the one I gave to the graphic novel [producers].

We are looking more at, it's not really a novelization of the graphic novel. It's more like we're going back to roots and doing a novel with the same outline.

Cosmere.es

And if it turns [out] well, because the world and the story is really nice, do you think that we will have more than one book on Mirandus?

Brandon Sanderson

Yeah, I think that it's likely we will have more than one book. We will see how it goes, but Dan's got one draft ready. I feel very good about it. It follows the outline pretty closely. We're gonna go and pitch that to my publisher in the U.S., and see what they think of it.

Cosmere.es

At the beginning, I thought you were the one just writing in [Moonbreaker], but the other day I saw Dan's newsletter and I think I saw he also kind of collaborated?

Brandon Sanderson

So what happened is I created the world and the characters, and then we were doing these audio dramas. I had never -- from the beginning, I told them I didn't have time to write the audio dramas. And I was expecting them to find somebody to write them. They had real trouble, so I said, "Hey I know someone who's really good at audio. Do you want to meet Dan?" So I introduced them to Dan, and he's been taking my outlines, writing these audio dramas. If you listen to the story of Moonbreaker, it's my outline and Dan's words.

Cosmere.es

And what is from Moonbreaker? What is the thing that you enjoyed the most?

Brandon Sanderson

I enjoyed being able to just worldbuild, and not have to worry about writing a story with it. That's a lot of fun to me. I like writing the stories too, don't get me wrong, but writing stories is a bit more work than worldbuilding is. Worldbuilding's a bit more relaxing. I got to put on that hat and be like a GM again. Back when I was a gamemaster, I didn't have to worry about stories so much. I had to worry about making a cool world for my adventurers to play in. And that was the hat I was wearing.

Cosmere.es

I remember that in the beginning the idea was the same thing that we had for Cytonic. That somewhere between Cytonic and Defiant, we'll have a new series of novellas. So I'm not sure if we are keeping this still in mind?

Brandon Sanderson

What happened is over time, there's not a time jump between Cytonic and Defiant. I just jump right into it. And there wasn't as much time in the course of the book for novellas to happen. Those slowly transformed into a trilogy of novels to take place after Defiant. So that's what we're planning right now.

Cosmere.es

It will still be published before, or after, then?

Brandon Sanderson

It will be published after. I will come, and then we will have a trilogy with Janci and me. Kind of expanding on a lot of the characters she delved into in the novellas.

Steve Argyle

And that's a question for Brandon. Do the runestones do anything? Do they have power in themselves, or are they just markers, or... [fade to black]

Brandon Sanderson

So Steve, runestones. This is a real thing, a thing we have in the historical record. We think they were mostly used for trade and things like that. Maybe they're historical markers, also, but they're a real thing. I of course wanted to incorporate them into the magic system, so yes, in the book these have legitimate magical power. They're basically making the land's wights a little more pliable, so to speak. This is what makes them more willing to work with people. It soothes them. Consider it the magical version of the stuff that my wife plugs in that's supposed to smell good to cats and make them not want to fight with each other.

Katie Payne

I did have a question for Brandon, and it was when I was reading the book, I remembered in the preface that Brandon, you said that you had your friend Dr. Michael Livingston. Because he's an expert on medieval history, and he had you read a book. And as I'm reading this book, there were so many moments where I stop and I google something like, "What is an Earl?", "What is Woden?" Oh, it's Odin. You know? And then I read it, and it's actually historical. These are historical things and like Brandon said in the book, you might think these people don't have teeth, but they do. And that's probably something he learned in this book and I want to know what the book was that he read.

Brandon Sanderson

So, one of the main reasons I picked this time period as opposed to the Titanic or something else, which I was considering, is I'm pretty familiar with this here period already. I wouldn't call myself an Anglo-Saxon scholar, but it is an area of armchair interest to me that I've read on and studied for many many years. I'm not sure if I can point to one book. I mean, if you want to read something that's from this period, The Saxon Tales are quite excellent. But more it's that whenever an article comes up, whenever I see something interesting, I kind of focus in on this and file it away.

I needed this book to be the thing that kept my momentum in writing these secret projects, so I needed something that I already knew. That doesn't mean, like I said, that I am a 100% expert in this. I am not. But, because I knew I potentially had some help from Michael Livingston in my back pocket, I wrote the book and then I went to Dr. Livingston and said, "Help fix this. What did I get wrong?" And I didn't get that much wrong. I was quite pleased. He had a couple comments per chapter about things I could do better. But none of it was major structural stuff. It was just little hints here and there, so I was quite pleased that I was able to get that mostly right on my own!

Matt Hatch

Is this one of our questions for Brandon? When are we getting the Handbook. Is that something we need to ask? Everyone out there is watching. Do you want the Handbook? We need to send Brandon a note.

Brandon Sanderson

[fade to black] So, I hope this does not become the new version of, "When are we getting the in-world book [The] Way of Kings, written by Nohadon, which I get asked all the time. Or, "When are we going to get the full writings of Alendi from Mistborn?" You are never going to get the actual Frugal Wizard's Handbook written by Cecil G. Bagsworth the Third. That is not a thing I'm going to spend a lot of time doing. I am very, very sorry Matt.

Katie Payne

But Brandon spent so much time structuring his magic systems for his Cosmere books that that's part of why this book was refreshing. Because it had a little bit of -- well, I wonder if Brandon would debate that. (imitating Brandon) "No it's not!" [Wren laughs] But it felt a tiny dash of Harry Potter magic, where I didn't have to fully [understand], it didn't have to fully, fully, fully make sense.

Joshua Bilmes

Maybe that's a question for Brandon. (laughs)

Katie Payne

Yeah. Is it Harry Potter magic, a little bit, or no? (laughs)

Brandon Sanderson

[Fade to black] So Katie, I wouldn't consider this a Harry Potter-style soft magic system. The trick about this is this is a magic system, as some of mine are, but more so than others, that depends on the volition of entities involved. The wights have choice in this matter, and because of that it's going to be naturally softer than some harder magic [systems] because you might end up with a wight that is really pliable and willing to work with you, or one's that's really hostile or things like that. So the magic system I wouldn't consider a soft magic system, but it is viewed softly by the people in the world, if that makes sense. They can't account for everything that might or might not happen because they don't have as much control as people generally have in some of my other settings like in Mistborn or something like that. It's a hard magic system that is presented softly.