Recent entries

    Winter Is Coming Interview ()
    #201 Copy

    FluxFleetpaw

    The only thing I'm still wondering about is Dalinar's ending. It feels a bit having your cake and eating it too, with Dalinar having his sort of happy ending (maybe more content?) while Odium still has the Blackthorn. It was one of my most anticipated conclusions of the book whereas it feels a bit muddled now?

    Brandon Sanderson

    Valid point. We'll have to see if that addition (made late into the revision process) is worth the muddling or not. This was done on a hunch by me that it will help me with some important things later on, but we'll see if it earns its keep or not.

    Winter Is Coming Interview ()
    #202 Copy

    Cspott

    I struggled with the Dalinar decision. I think he ultimately found the second best path (that I wasn’t expecting- I liked it) but I still think the best path was killing Gavinor. We know that Dalinar (despite his growth) can make hard decisions and the decision to kill Gavinor felt like a very easy one in the wider scheme of things. Huge amounts of personal guilt for sure but also the greater good argument was very strong.

    Why didn’t he ever really seem to consider it?

    Brandon Sanderson

    I would argue he DID consider it, for a long time. You can see, if you want, the conversation with Nohadon him manifesting a way to argue against himself. He very seriously did consider it, and I think you have a very valid argument: killing Gav makes a ton of sense. For the same reason as dropping the bomb on Japan made sense.

    But was it the decision that Dalinar would make? The argument against Journey before Destination is that it is short-sighted, that it fails to plan for the eventual destination that WILL come.

    Dalinar manifests this in his decision, and you have a very real argument against the philosophy of the Knights Radiant as he sees it here.

    Winter Is Coming Interview ()
    #203 Copy

    [removed]

    As someone who liked the Jasnah debate, I think the thing most people who dislike it dislike about it is that it feels like Jasnah failed too easily, not that she failed at all. They think that she should’ve realized that she’s not this perfect, emotionless person and does actually do things she thinks are best for her family way before the debate ever happened. It kind of feels like she had that realization already at the end of Oathbringer, when she spares Renarin. That, plus a lot of people feel like Fen was out of character for that sequence (I can’t do the argument justice because it’s not one I personally espouse)

    Brandon Sanderson

    I am aware of these arguments, as they were there in the beta reads. I did take several stabs at Jasnah; I didn't change Fen. She's not out of character in my opinion; she's a queen, presented with a terrible decision, and our familiarity with her (and our fondness for the Kholin family) has led us to ignore the signs that she would take this deal, which have been in the books from the start.

    I do also think people aren't realizing that Jasnah didn't learn her lesson at the end of Oathbringer, not entirely. She's been sitting on a fence ever since that moment, refusing to completely jump into a new line of reasoning and philosophy, because (like all people) she has momentum, and even for someone very self-reflective, change is difficult. However, I have deliberately not given myself the time to delve into this too much in the books, as I need to save her for the back five.

    Again, no dismissal of people's valid complaints about the book--just my take on it. This is dangerous to do, as the reception of the book is not mine to decide, but the fans. (That said, I don't want to imply the reception to the book was bad--as it isn't. It's among my better reviewed books, but it's certainly generated a lot of conversation on the subreddit. It might have the biggest gulf between "general fan reaction" and "subreddit reaction" of any book of mine.)

    [removed]

    I am curious about why you feel Fen’s decision here was foreshadowed earlier in the series. Even to me, who didn’t mind the debate, it kind of felt out of left field

    Brandon Sanderson

    Key things to watch for are the discussions of her as a deal maker, her distrust of the Alethi and dissatisfaction with Dalinar making decisions for her, and her loyalty to her kingdom.

    I really do think her decision is the right one, in her situation. Fen is a person who would take the average hit point in D&D at level up, instead of taking the roll to see if she can get higher. She knows a good deal when she sees one.

    In this case, the choice seemed clear: Get a 7/10 deal from Taravangian now, or risk a 0 or a 10 depending on what Dalinar did. She'd always been upset that the Kholin's moved without her, and felt like it was happening again. She liked them, but the needs of her people dictated taking the seven (an above average deal) instead of holding out for a man who had vanished, and might not even show up to the contest--and if he did, might happen to forget the needs of her people, as he made a very real and manifest mistake in the negotiations with Odium already. (Leading to the battles they were now fighting.)

    I think if you presented the situation to someone external, who didn't have the attachment to Dalinar we have by being in his head, the choice is pretty clear. For the same reason people at home tend to scream at the people making bad expect value choices on game shows, risking a very good deal because they see stars and dollar signs.

    Fen is a pragmatist. This is the pragmatic decision.

    SodiumButSmall

    My personal issue with it is that all the arguments I saw were very common and easy to refute arguments against utilitarianism, it seemed very wrong that she wouldn't have encountered them before and known how to handle them.

    Brandon Sanderson

    This is a perfectly valid complaint. If I were to rebut, it's to say this: They are common, but I don't think they're easy to refute. Rather, they are too easy to refute, until they aren't.

    Let's look at myself with religion. I believe because of certain feelings and experiences I've had. The common refutation to this is, "Look, that's confirmation bias." And I recognize this, and look at it, and weigh it, and just have to say, "yeah, I understand that--but I just don't think it IS confirmation bias."

    Likewise, Jasnah has looked at all of these arguments, and has had to say--at the end of the day--okay, those are logical complaints about it, but I still think this is the way to go. Because there IS no right answer to these kinds of questions, and you have to pick one and go with it.

    But that CAN come crashing down around you, where suddenly you see everything in a new light--and the objections suddenly make sense. It happens when someone has a crisis of faith, and similarly with a crisis of philosophical underpinnings. Sure, Jasnah could have made the knee-jerk, canned responses, but in that moment she realized Taravangian was RIGHT. Suddenly, the arguments don't work.

    I hold that Fen's decision was the correct decision, and Jasnah (who is the closest character to me in the Stormlight books) absolutely knew it. Fen should have taken that deal, and arguing against it simply was wrong, because Jasnah knew she'd have taken the deal. Anyone should have, in Fen's position.

    That's where, I think, I disagree with the interpretations of the scene. I think Fen should have taken the deal; Jasnah thought Fen should have taken the deal. Because of this, Jasnah couldn't rely on her previous philosophical foundations.

    The fact that I didn't entirely get this across in the text to you, however, is not your fault, but mine.

    Winter Is Coming Interview ()
    #204 Copy

    Smellyjelly12

    Have you ever considered making Sadeas Odium and/or do you think he would have made a good Odium?

    Brandon Sanderson

    It wasn't something I considered in depth. He would have made a fine Odium, but a little similar to Rayse--which meant there wouldn't have been much of a reason to make the swap.

    I saw him, and Amaram, as "stepping stone" villains. The series started focused on the more practical: this specific war. It needed antagonists who were part of that war, and understandable as human beings to resist. As the push from Oathbringer on was going to be toward Odium, I wanted them to fade away before the larger threat by that point, and the real threat of Odium to be someone who could match the heroes in terms of understanding the longer game of the fall and rise of not kings, but kingdoms.

    Winter Is Coming Interview ()
    #205 Copy

    HA2HA2

    Huh. Brandon mentions "sidelining Kal" as his controversial decision, but that didn't seem to be where most of the controversy comes - I thought most people like Kal's plotline?

    I thought the most controversial was like "modern language", "jasnah debate", maybe "gay couple" (not controversial on Reddit but maybe elasewhere), "child champ".

    Brandon Sanderson

    So, the interview where I talked about this didn't feel the place to dig into it deeply, but perhaps I can do a little bit more here. As a foreword, though, this might get into artsy-english-major-bs. It's how I feel about the piece, and part of what I was trying to do, but whether it has practical application to actual readers...your mileage may vary.

    The goal here was to give a sense of disquietude to WaT by breaking the formula in uncomfortable ways--leading to a sense of uncertainty while reading the book, a sense that something was off, that the average reader (which may not include the people of this subreddit) wouldn't pick up on directly except for a sense of something being "out of tune" as they read.

    Kaladin is part of this. For the first time, Kaladin won't be there for the main climax of the book. Not only that, but he's learning to play the flute while Adolin is living through the worst hell of his life. But there's a great deal more. Shallan seems to be backsliding in a way that doesn't make sense. A giant war is going on, and Dalinar isn't there to participate.

    The pacing is strange by intention. Instead of an opening action sequence as is common in Stormlight books, there's this disquieting sense of things breaking apart--Kaladin saying goodbye, Shallan and Adolin splitting, Dalinar and Navani being torn away from their kingdom. Instead of fast, slow, fast (as is the general pacing of a stormlight book) it is slow for a distressing amount of time, then jerky--jumping between viewpoints faster than Stormlight books generally do, with far more leaning on a variety of viewpoint characters than previous books have had.

    As it goes, there's the uncomfortable sense that none of this is going to get fixed. That it's going to stay this way, despite this being a climactic book. The sense of stress to the book shouldn't simply be "Kaladin is away" it should be all of these things, together, leading to the uncomfortable conclusion that you're not seeing a series wrap up...but a series unravel.

    Now, I don't say this to detract from anyone's criticisms of the book--just as explanation for what I was doing. The goal is a symphony going further and further out of tune until you realize, "Wait. This isn't going to correct. It's going to stay that way."

    I did push the language too far modern. I also recognize that several of the revelations (like Gav as the champion) are disliked by the community here in general. They were disliked by the beta readers. Issue for me is that, having watched other big fantasy series play out, my gut says these revelations will work for readers who haven't spent years theorizing on them. (A reader that will never exist again, as nobody will ever need to wait fifteen years for this book again.) We're in a little bit of uncharted territory, since the general inclination from my peers has been to change revelations like this once they're figured out by the community. My gut has been to stick to my guns, and trust that in the long run, the well-foreshadowed answer is the correct one. It's still uncomfortable and wrong; it's not playing by stormlight rules. It's supposed to do that. Because the battle isn't about Gav. (Hint, the actual battle and conclusion to it is not about what happens with Gav, but it's about what Dalinar and Taravangian each do after.)

    Y'all would have almost certainly guessed the ending of Hero of Ages years before the book came out if I were writing it now, and would have likely made the choices at that ending controversial because they had been guessed for years, and seemed pedestrian by the time the book launched.

    Regardless, I'm confident the choice of champion is the right choice. Still undecided on Jasnah. I took three stabs at that sequence with beta reader feedback, as it was very controversial there too, and still don't know if people are just unwilling to let Jasnah lose, or if there was a better way to write the sequence. Probably a mix of both. Should probably have pushed harder that Jasnah is off-kilter because some of the things Taravangian is doing echo the terror she felt as a child being unable to trust her own conclusions and mind during a certain episode in her past we'll delve further into later.

    Anyway, that's my take on it. Again, your mileage my vary, and your experience with the book is valid--it's art, and the author's intent is far less important than your takeaway experiencing it. 

    Winter Is Coming Interview ()
    #206 Copy

    Brandon Sanderson

    One thing [about "Moment Zero"], it is a cop story. And writing about police officers in today's environment is something where you gotta be like...you know, I love the classic cop story, I love me John McClain, things like this...but we do interface differently with police officers in 2025 than we did in the 90s when Die Hard was written. I actually kind of put some talking about social issues in it in the first draft, and my beta readers exclusively are like, "There's not place for this Brandon, even touching on it is a bad idea. You can't do a good job with it, this is an explosive action story." And I actually pulled back on a lot of that.

    You know, like I have a pair of heroic police officers, I think there are heroic police officers out there. Does not mean that we shouldn't be having difficult conversations about how policing is handled in the United States. And so I'm curious...how's the response to just a classic cop story in today's environment?

    Well, like I said, I pulled back on talking about this. Both from the non-cops and the cops I had read it, just [were] like, "This isn't the place for it." I do think I talked about that enough in Wax & Wayne, where you kind of had Wax versus Marasi where she's like, "Hey, you know, we need to police differently than you policed when you were out in the Roughs." So I did dig into it. But you know, it is an interesting thing to think about when you approach writing a cop drama these days.

    Winter Is Coming Interview ()
    #207 Copy

    Brandon Sanderson

    And so that's why I was able to take these six months — well, they ended in January — but I finished Wind and Truth and I took six months and I said, "I can work on whatever I want during this time." And a big chunk of that became the novella for Tailored Realities, 50,000 words, so it's...you know, it's a novella for me. It's technically a novel, but it's a very short novel. And part of that became going back to White Sand and fiddling on that, part of it became a screenplay for The Emperor's Soul that I'm very proud of.

    I need more screenplay practice. Like, I envy [George R.R. Martin] so much, him having worked in television for so many years, and then coming to it and suddenly being able to have a great influence on the first seasons of Game of Thrones because he had been, you know, working in television. I envy him that experience. And so this is like my fifth or so screenplay. So I'm getting to where I feel comfortable writing them and offering feedback on them, but I still need more experience. So I decided, "Hey, I'm gonna write a screenplay on Emperor's Soul," and stuff like that.

    I've now blown off that steam, and I was itching to get back to something like...you know, my true love is this deep continuity across many worlds, that's why I keep coming back to it. But I just need a break from it now and then.

    Winter Is Coming Interview ()
    #208 Copy

    Brandon Sanderson

    Like, I didn't know until a later [Stormlight] book that I was going to age up Gav. And so in the first book, the foreshadowing...it's just the suckling babe. I get later on and I'm like, "Oh, this kid's gonna have to be older than that. He'll have to be at least six." That's not a suckling babe. And then I'm like, "No, he needs to be even older than that, I'm gonna have to time dilate him." The metaphor still works, but the language that I wrote in 2009, that I have to pick up in 2024 when I'm polishing [Wind and Truth] for release...there are things you just have to accept that it's going to have to be a little more metaphoric, when if you can write them all through, you can just make sure the language is exactly as you want it and things like that.

    Winter Is Coming Interview ()
    #209 Copy

    Winter Is Coming

    So this [Ghostbloods] is a much more tightly tied series to Wax & Wayne than Wax & Wayne was to the original trilogy, in a way?

    Brandon Sanderson

    Yes, in a way...like I do intend for people to be able to just pick it up, even if they haven't read the original trilogy, or if they haven't read Wax & Wayne. But you know, Wax & Wayne will be lots of good backstory.

    Winter Is Coming Interview ()
    #210 Copy

    Winter Is Coming

    You mentioned Wax & Wayne. That was the unplanned era of Mistborn. Often when fans on forums talk about this stuff, they refer to the Ghostbloods era as the "80s sci-fi tech thriller" era of Mistborn. Has that tone or anything about it changed at all because of Wax & Wayne? Or just in general, because now as you said, it's been 20 years, you've written more than 20 books in the Cosmere.

    Brandon Sanderson

    A decent amount has changed, like you evolve over time. The core characters and the goals that I'm having have stayed the same. But you know...I have an art department now. I put them for six months doing concept art on Mistborn modern era, and they just kind of were churning [things] out. I felt like George Lucas saying, "Okay, I'm gonna do this one, go further on this. Give me more on this. This is the wrong direction, give me something else for this.'' And I have all this big folder of concept art they did for me. And they're all off on the other things now, but I have this. That's real different, right?

    And Ben McSweeney, who's just awesome. He did the concept art for Way of Kings back when I did my original pitch, and now he's on staff. He just loves Mistborn. I found him through Mistborn fan art, that's how I hired him in like 2008 or 2009, whenever it was. And he came up with all these ideas that are really cool for melding some science and fantasy and, you know...how does this feel different from other urban fantasies? We don't just want to do our world, but there's Mistborn. We want it to feel like Scadrial. So that's been a lot of fun. That's changed how I play and interact with that.

    Doing Wax & Wayne...I always told people that, one of the key plot points was a Mistborn serial killer. I kind of did that already, and I borrowed that whole plot sequence and put it in Shadows of Self. And so I'm not going in that direction, I'm taking the other kind of parts of it and things. So there's things that slipped into the Wax & Wayne books and felt like a good match.

    I also moved the timeframe up about 20 years in-world, so that the Wax & Wayne books aren't quite as distant a memory. Like people that you met during those could theoretically still be alive, the younger ones, right? We're doing like a 50-year jump instead of a 70-year jump, and that 20 years is relevant for some of these things. And I've already set up the Cold War, so I don't have to set that up. It's already in existence, so...you know, stuff like that.

    Winter Is Coming Interview ()
    #211 Copy

    Winter Is Coming

    Do you still expect to be able to write epic fantasy in the Cosmere, or are we fully in the sci-fi era?

    Brandon Sanderson

    What an excellent question. There's a whole lot that I've thought about on this for many years. I don't want to leave behind epic fantasy completely, though I do think that as I move forward, you're going to see two types of epic fantasy in the Cosmere. One...takes place outside the current timeline. When I jump back and I do Hoid's backstory, we're back to epic fantasy, though it'll be Bronze Age. And [the other is] things like, not necessarily the voice of, but things like Tress of the Emerald Sea, where you see touches of the rest of the universe has hit the science fiction era, and there are science fiction things here, but you know, this planet is not there yet and what not. I think you'll see mostly those two types of things.

    You'll see a lot more Dune style where it is. Dune is such a strange beast and I love it for it, right? A Fire Upon the Deep has a bit of this same feel where it's like, is this fantasy or is this science fiction? Well, Dune is science fiction, but man, it feels like an epic fantasy. Dune is what proved to me that you can put guns in something and still have the feel of that epic fantasy that I love. Because Dune feels more like Game of Thrones and Wheel of Time then some other fantasy books that are strictly fantasy do, because of some of the tone. So you'll see me doing some things like that as well.

    I still don't think I'm equipped to write true hard science fiction. I respect it greatly. But as I've always said, kind of the difference between what I do and what hard science fiction does, is hard science fiction takes what we have and extrapolates realistically to a future, and I take a future and then justify it with the mechanics in-world. And that's a very different thing.

    The biggest challenge I will have is I don't want my books to read like technical manuals. There are some people who love that. I let myself do some of that with Navani in [Rhythm of War], and I love it. But I have to be careful that every book doesn't read like a hard science fiction where you have to have a PhD in the Cosmere to understand what's going on.

    That's actually a challenge for the Ghostbloods. I want people who read the original Mistborn trilogy, who maybe weren't into Wax & Wayne, to be able to jump to this. And I want it to not read like a technical manual. But at the same time, you can read Tom Clancy and not have to understand the technology in specific that he's referencing, that are causing some of the problems in the Cold War thrillers and things. And so there's a line to walk there, right? How much do I explain? How much do I leave to the hardcore Cosmere fans? How much do I put in an appendix for them? You know, Star Trek gets away with a ton of technobabble, but you don't have to understand any of it. Where is that balance? So that's the biggest challenge for this book other than, you know, writing a fantastic book.

    Winter Is Coming Interview ()
    #213 Copy

    Brandon Sanderson

    When I turned in Wind and Truth to Peter [Ahlstrom, and my] editorial department in June before it came out, I said, "Alright, this is the book that has the biggest danger of breaking my career. Beware, be warned, this is the one. Doing this and then making them wait eight years...this is the thing that could end it all." I think it's the right artistic choice. I think when the series is done, people will be like, "Wow, I'm so glad we had book 5." But I also think it's going to be a book that's going to make some people uncomfortable.

    Winter Is Coming Interview ()
    #214 Copy

    Brandon Sanderson

    Now, there is one piece of feedback I've gotten that has surprised me, and it's very rare that I'm surprised. And that's the prose in book 5 feeling a little more modern. 

    It took me by surprise. The betas didn't spot it...that's the one that I've been looking at and saying, "Alright, do I need to re-evaluate?" I like listening to the fandom and things like this, and I do think I've been inching more and more modern, because in my head, the Cosmere is going more and more modern. But that discounts kind of one of the reasons people come to fantasy, and that is as a contrast to a lot of contemporary fiction.

    People will say, "It feels more YA," which is very interesting because what actually is happening, I think, is that there's this kind of contemporary voice to prose that you'll find in YA, romance, thrillers, mystery...but a lot of the readers are going to experience it mostly through YA, coming out of YA and things like that. And it's interesting to me that that's happening.

    I also think people are reacting against some of the humor styles that were very popular in when I was growing up. We call it "Whedon-esque" or, you know, things like this.

    ...

    And so there's something to watch for in that as well, because Wind and Truth has some of its humor scenes up front, where normally they're in the middle, because I kind of do the relaxing, getting ready for the big explosion [at the beginning]. So part one of Wind and Truth is the, "Alright, let's spend some peaceful time with the characters before things go crazy." Normally that's in the middle of a book.

    Anyway, I've been looking at those things, with the prose and whatnot, and if something's off, it's only off by five or 10%. But you know, I do listen. I do. And as kind of a student of how prose and storytelling works, it's interesting to try and dig back to, "Alright, what's going on here? Can I interpret what people are saying?"

    Winter Is Coming Interview ()
    #215 Copy

    Brandon Sanderson

    Wind and Truth, when I was working on my original outlines, was the one that I knew would probably be the most divisive. And looking at the responses, [they] have been divisive in the ways that I expected and wanted, and so we're good.

    It's interesting, each book of The Stormlight Archive I feel needs to reinvent itself. They are so long. I write them as if I were plotting a trilogy, each volume a trilogy, and I feel they would get stale really quickly if they didn't reinvent themselves periodically, with each volume. And so there's things I did in Wind and Truth very specifically to make people uncomfortable. And maybe that's not a wise choice, but it definitely was the artistic choice. I can talk you through one of these.

    Kaladin is kind of our throughline through the first five books, in a lot of ways. Book one is, Kaladin rises up and saves the day. Book two...Kaladin has to question his fundamental beliefs, and then book three is Kaladin breaks, right? That's kind of our trilogy. And you have this idea where [in] books one and two, Kaladin steps up at the end; in book three, he fails to do so. Book four is breaking Kaladin further to that breaking point, and book five is Kaladin steps back. You've had Kaladin as your main emotional throughline through the series so far, and he's not in book five, which is instantly going to make people feel like something's off, something's weird about this book. Kaladin's taking a backseat suddenly, and actually Adolin is doing the kind of plot structure that is typically a Kaladin plot structure, in book five.

    There's a lot more that are kind of like that, that I hope, you know, readers who don't even see structure are going to be like, "Something's weird about this book." Because I want the book to be the one when people get done, that they're just not quite sure what's going on and where the series is going anymore, because I knew the series needed that book 5 sort of change of the status quo if I was going to do 10 books. And so I've been watching, and I've been seeing that.

    Miscellaneous 2025 ()
    #216 Copy

    Brandon Sanderson

    (We still haven't decided if my name should go on Dan and Isaac's cosmere books, when those end up being finished. I'm involved in those, naturally, but the story ideas and writing belong to them.)

    Use_the_Falchion

    (Also, as a random aside and as a random fan, I think your names should go on Dan and Isaac's books if the books were going to be shelved in a different section of a bookstore had your name NOT been on the cover. Unless/until the Cosmere gets big enough to have its own section ala Star Wars and Warhammer, having your name on the books could keep them all in one section, which makes them easier to find for those searching in bookstores. My guess is that it would also increase sales for Dan and Isaac, whose books may not be picked up if those looking don't already know its connected to your worlds. However, if the books were going to be shelved next to your books because it's the same series even if the authors are different, then I wouldn't put your name on the book.)

    Brandon Sanderson

    Regarding my name on books, you're probably right, and these are the discussions we're having internally. I don't want the cosmere to go the Star Wars/Warhammer route. I don't want a separate section of the bookstore, for example. That feels...I don't know, too commercial? We're not writing these books just to expand an IP or the like, but because Issac and Dan are excited to tell specific stories, and they happen to fit into the cosmere. It makes sense to put my name on them, to get them where people can find them, and I see that.

    At the same time, these are really their stories. Told because they're passionate about them, rather than any mandate by me. I feel uncomfortable putting my name on them because of that--I'm really just there to make sure the cosmere continuity functions, and to give my advice as a fellow writer on narrative. Same as they do for me, when they read early drafts of my work.

    That's why I go back and forth.

    Miscellaneous 2025 ()
    #217 Copy

    Brandon Sanderson

    This [Songs of the Dead] is, at long last, the resurrection of the old story Death by Pizza I've talked about in the updates: the story of a metalhead who ends up becoming a necromancer. (It lost the pizza in the title when the main character moved from running a pizza place to working at a music club.)

    It's come a very long way. The worldbuilding, in which the various versions of a city (in this case London) exist as "strata" in layers populated by spirits extending down beneath the real one, never would leave me alone. (So, London has a ghostly version of Victorian London beneath it, then Elizabethan London beneath that, etc, representing major turning points in the city's live all the way down to prehistory.) Necromancers can walk these strata and pull spirits up from them to the living world.

    Imagine this as my setting outline (it was quite extensive) mixed with Peter's experience as a metal singer, along with his storytelling. (I did give him a plot outline, but it severely shifted over the years as he labored over the book, naturally evolving it to be less comedic, more epic. The bones of my original story are still there, but buried deeply.)

    We got it into what I think is a really good place, then I stepped back from the project because I just didn't have the time. So book one I had a huge hand in; any sequels will be just Peter, and the my name won't be on them. (Unless I miracle the time to look them over.) Not because I'm not proud of the book or the series, but because I won't have time to do a developmental edit/revision, and I want to always be up-front about that with readers. I really only want to be doing one co-authored series like that at a time, and I'm deeply involved in Skyward currently.

    Use_the_Falchion

    1. Will you be providing updates on Books 2 & 3 as they come along, or will you leave that to Peter? I ask because casual updates from you reach a wider audience than many authors' blogs or newsletters.

    2. Should we expect a book from this trilogy every year or every other year, or is it too early to tell?

    3. How does the "one coauthored series at a time" affect the search for a coauthor for the Atzlanian? Are Team Dragonsteel coauthored projects excluded from this rule, as their works are in-house?

    Brandon Sanderson

    1) I hadn't thought of it, but I'm sure upon reflection that we'll let people know when the other books are out. I'm quite fond of the setting, as I said--and our deal lets me write in the world solo (like he's going to do for books two and three) if I ever decide I want to, so I do intend on keeping up on happenings. We imagine it a bit like what happened with Malazan. (If you aren't familiar, it's a book setting owned by two others, where both can write in it.)

    To establish proper expectations, I don't imagine going and writing in this setting. I have my hands full with the cosmere, but I should note that it's an option.

    2) Too early to tell for sure. I know Peter wants to be as fast as possible with it, and having a publisher helps. My GUESS would be every two years, based on Peter's previous writing schedules. He's a diligent guy, and was excellent to work with, punctual and passionate. He does like a lot of time in revisions to get things right, however.

    3) I consider the Atzlanian to be an "outstanding obligation" sort of thing. I'd do other co-authored books, I just don't want to get into another big series with commitments to do big edits. 

    Eyre_Guitar_Solo

    If it’s not too late, I recommend reconsidering the title. It’s too similar to (as others have noted) Star Wars, which in turn has been mimicked by Storage Wars and so on. I get that it’s not about a pizza place any more, but “Death by Pizza” is far more unique and intriguing.

    Brandon Sanderson

    Strata Wars, and Songs of the Dead, were both chosen by Peter.

    Songs of the Dead is a good match to the story, as it stands now. Death by Pizza just wouldn't work for what the book became.

    Strata Wars was chosen after I left the project. It does have flaws, but it's his call at this point.

    FanX 2025 ()
    #218 Copy

    Forger (paraphrased)

    I liked how you made Aux's name 12124. That was a cool thing to pick up on. I used to use that code when I was a kid. Has anyone else noticed it? Or, at least, said anything about it?

    Brandon Sanderson (paraphrased)

    I'm sure other people have picked up on that, but no one else has said anything. That was fun to do. Of course, the numbers and translation would not be a direct one to ours, right? Cause they use different numbers and alphabet on Roshar than we do.

    Footnote: Code being referenced is A = 1, B = 2, C = 3, etc. So, 1 = A, 21 = U, and 24 = X.
    Direct submission by Forger
    FanX 2025 ()
    #221 Copy

    L0N3STARR (paraphrased)

    Why don't we ever hear anything about Retribution through all of Mistborn Era 2? 

    Brandon Sanderson (paraphrased)

    Well of course some of that is the time dilation, but also, and you'll see this in the future, many throughout the Cosmere still think of him as and refer to him as Odium, which we'll understand better in the future. 

    FanX 2025 ()
    #222 Copy

    L0N3STARR (paraphrased)

    So in Rhythm of War, Hoid is talking about the shattering and says that that he "gained a freedom the others would never have" 

    (Paraphrasing this quote: 

     Rhythm of War chapter 99

    "And who is that, Wit?" she asked. "Who are you really?"

    "Someone," he said, "who wisely turned down the power the others all took-and in so doing, gained freedoms they can never again have. I, Jasnah, am someone who is not bound.")

    Was Hoid some kind of Avatar for or vessel of or otherwise connected to Adonalsium? Why was he gaining this freedom, and why didn't he already have it. 

    Brandon Sanderson (paraphrased)

    No it's not what you're thinking. I get why that's where you're going, but that's not quite it. But also, RAFO, I have a card here somewhere. 

    Celsius 232 2025 ()
    #224 Copy

    Mario_973

    In Yumi and the Nightmare Painter, we see a highly Invested being, like Yumi, can influence the physical form of a body, shaping it with her identity. Could something similar happen to Kelsier (scars=his identity) when he got a new body?

    Brandon Sanderson

    Yes

    Mario_973

    Specifically, did he use Spook's body (which has never been thoroughly described) and a Hemalurgic spike to anchor his Cognitive Shadow to it?

    Brandon Sanderson

    RAFO

    Celsius 232 2025 ()
    #226 Copy

    AMontreal22 (paraphrased)

    I asked him if we'll learn more about the koloss or koloss half-breeds in Era 3.

    Brandon Sanderson (paraphrased)

    One of the main characters will be one and we'll learn more about the koloss through his character.

    Celsius 232 2025 ()
    #227 Copy

    DiegoCacaolat

    Did the God Beyond create the cosmere alongside Adonalsium, or was the creation of the cosmere solely the work of Adonalsium?

    Brandon Sanderson

    The God Beyond is a modern--People didn't talk about the God Beyond before the Shattering. So, whether the God Beyond existed or not before the Shattering is a question, but it is a newer thing that's arisen.

    In the cosmere, they would say Adonalsium created everything. There are some that now would say they think the God Beyond; but the God Beyond is a modern evolution. It's come about modernly.

    Miscellaneous 2025 ()
    #229 Copy

    pje1128

    Is Lux still getting a print form at some point?

    Peter Ahlstrom

    Lux has some continuity inconsistencies with the Reckoners that would need to be fixed before a print release. Its pacing may also work better in audio form than in print. Right now we are holding off on doing anything more with it until we decide whether it makes sense to release either of the two sequels that were originally planned.

    Ghostbloods Updates ()
    #230 Copy

    LewsTherinTelescope

    Once the books are out do you think you'd be able to talk a bit about the character/plot swaps in more detail?

    Brandon Sanderson

    So, there's a few things going on here. Swap really began to happen in my head somewhere around 2019-2020, as I realized that I didn't want to do a serial killer. I'd already done this, and plus, I wanted to shoot more for an 80s spy thriller as opposed to a detective vibe, having done that so much with the series already. If you watch my lectures, I talk about the difference between a lower case p plot and an uppercase P Plot. The larger scale Plot of the series remains the same (has the same ending to book three that was built back in 2005-6), but each book needs its own plot as well. The things that move scene to scene, make the book stand on its own and be readable. I started to revise the story in my head over the years to focus on something that would better match the tone of what I wanted. When I sat down to write, I tried them both out in outline, and was unsurprised to discover that the newer one was more interesting, so I rebuilt that direction. I can say more once you've read them, though I recognize that's a ways off. Most everything I planned to do is still in there, but things have moved around a little, which isn't odd once you start active work on something. Some of what was book one becomes part of book two, and some of what was book two becomes book one. That sort of thing.

    Miscellaneous 2025 ()
    #231 Copy

    RShara

    So in the [revision of Sixth of the Dusk to include in Isles of the Emberdark], most of the references to the mainland as where people lived have been removed. Currently the mainland is considered cold and inhospitable

    However, in the flashbacks, Vathi still considers Sak a mainland bird, which doesn't quite fit in with the mainland being a frozen wasteland. 

    So is Sak still from the frozen wasteland mainland somehow, or should those be changed to homeisles instead? 

    Peter Ahlstrom

    I asked Brandon about the mainlander bird issue, and he said it's correct as written. 

    Worldcon 2025 ()
    #232 Copy

    FearTheOldBlood

    I remember in another WoB you confirmed that the living nature of spren would make them unviable for Allomancy. So I was wondering, if a Radiant were to kill their spren--but will it into the shape of a spike beforehand, and use that spike for Hemalurgy, could the person who was spiked have a Connection established between them and a Vessel of Honor or Cultivation?

    Brandon Sanderson

    You horrible person. But this would work. Yeah, you're absolutely horrible, that would work. Remember that that's going to make a god metal spike and that's going to have some weird effects being a god metal, but yeah, that could work.

    Worldcon 2025 ()
    #233 Copy

    Questioner

    We get some indications as we go further in time, in the cosmere, that this is this idea of stalemate between the different worlds.

    Brandon Sanderson

    Yes, between some of the worlds. There's bit of a giant galactic cold war going on.

    Questioner

    So as that happens, I'm curious, in your mind, is that being more driven by the people of the worlds and their manipulations of the powers going on? Or is this an inter-Shard thing?

    Brandon Sanderson

    I'm going to say this is more towards the Shards than the people, but both are involved. And there are flare-ups that are actual full-on conflicts, but I am writing books in periods where that isn't happening because I don't want to deal with that too much with that yet. If that makes sense.

    Worldcon 2025 ()
    #234 Copy

    Questioner

    So, you had mentioned there may be some familiar faces in the next...

    Brandon Sanderson

    Yes.

    Questioner

    What I was wondering: how much of that is informed by having gone through the process of Era Two and how much of that is...

    Brandon Sanderson

    Original outline? So, the main crossover characters you will see were from the original outline. It's called Ghostbloods. If you know anything about what that means, you will know who a major viewpoint character in the series is going to be. And this was the original plotline. But, having written the Wax and Wayne books, there are certain cameo things I can write in--references to characters that were in Wax and Wayne. In fact, I deliberately changed it from a 70 year gap into a 50 year gap so that you could potentially see some of the people from the second area who were younger during the second era have something to do with what's going on in Era Three.

    Worldcon 2025 ()
    #235 (not searchable) Copy

    Brandon Sanderson

    Basdrik 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 of 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 echotree when it is young.  See the white cross mark on the underside?  It is the sign of a friendly beetle.”  He carefully turned it around so she could get a good look, then delicately placed the insect back into 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?” he said.

    “I told Dalak 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 maskline, called hunters themselves--covered the whole face.  The more he’d traveled the empire, the more surprised he’d been by the variety of the masks worn by the different peoples.  Everyone did them differently, which was a thing a man from a small village like his had never imagined.  How could they all be so very wrong?  Or was he the one who wore his 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, and each breath was humid and thick; an air full, with its own invisible blood, unlike those 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 picking carefully, lifting leaves, looking at nooks in the trunk.  “There were two neighbors, once, who encountered a strange weed on the border of their property.”

    “Do I know these men?” Yara asked.

    “Yes.  One was your grandfather.”

    “Which one?  Grampa black mask, or grampa white mask?”

    “White mask.  My father.  Now, you’d have liked 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 the 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 out 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 a simberry, is it a 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 your grandfather’s face and said, ‘I told you I was right!  It’s called the ballberry.’”

    Yara moved with him to the next, and last, of the three saplings he was cultivating here.  She considered, and he could see her mind working.  “So...they were both wrong, and 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 white mask was the most right, even if he got the name wrong.”

    “This is,” Basdrik said, “the tactic of the frightened and the unconfident.  They must be right, and so they will ignore the meaning of an 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 to be stupid.  And always remember to focus on what is important, not what is trivial.”  He held up a beetle.  “What do you think of this one?”

    “It has the cross on the bottom.  So it is a good beetle.”

    “Does it?”  He turned the bottom side toward her again.

    “...no.  No!  That’s just a white line, much more fuzzy.”

    “This is an imposter beetle,” Basdrik said.  “They have 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 the tiny insects we cannot remove.”

    Unlike adults, she never him asked 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 up at him with wide eyes, and nodded solemnly.  In response, he lifted his mask to smile.  Emotion, projected exclusively to her.  Before he could take her to the check the water level on the dorstferns, however, a shadow fell across him.  A car, directly above, driving off-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 cardock.  That wasn’t uncommon out here in the countryside; the market was close enough to walk, and busses were available for any other travels.  

    The car slowly lowered own out front.  It was here for him.  He walked inside and quietly washed his hands, while Rara--his wife--came to him with mask up to show her fear, wearing a white dress with red blossoms all 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 to be,” he replied, “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 to the men in black and red before doing as suggested, slipping out the back.

    Basdrik carefully got himself some juice to drink--squeezed from the fruit of one of his own trees--as the door opened again, and a short figure stepped in.  Assemblyman Dlavil wore a mask unlike any that Basdrik had encountered in his travels.  His was of a unique style that his guards, and a small--but growing--cult around him preferred, a mask you could not raise, as it seemed to be grown into the flesh itself, with the mouth cut out so you could eat.  

    When he spoke, there was a faint accent to his voice that Basdrik had never heard from anyone else.  “Are we alone?”

    Worldcon 2025 ()
    #236 (not searchable) Copy

    Brandon Sanderson

    Mist hugged the shadows.

    Cars zipping overhead made the sunlight strobe like an 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 a curse her direction. She heard little of it, with Terris mountainfunk 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 having ever seen it during the lighted hours, not even lurking in an alleyway. She seemed the only to have noticed it; perhaps she was the only one who cared. In fact, as she blocked the flow like a dead rat in a drain, someone moved by 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-drum beats 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, pausing by the alleyway to untangle cord, straps of her bag, and her brown corduroy jacket. She hesitated before reaching to the tuft of mist: a cloud perhaps a foot in diameter, hovering in the shadows like a stray. The mist twisted a tendril about 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 from the jacket 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 REDACTED had no direct children, she liked to think 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 distinguished tenacity.

    Ayven glanced back at the flow of traffic, many of whom were enjoying a half-day off from work because of a 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 so 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 as the mist 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 over 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 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 domed, almost futuristic shape, which was coincidentally appropriate today, considering the signage out front proclaiming that it was hosting Spacercon. Ayven could remember a time during her teenage years, ten years ago, when the convention had occurred in a run-down hotel where the carpet smelled of dust and the wood veneer blistered on the walls, revealing plywood underneath.  

    Around fifty people had attended that year. Now, thousands bunched around the doors to get in, in numbers that daunted her. She hadn’t expected it to be this popular.

    Guess I still did underestimate the crowds, 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 of 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, staring. “It’s never sold out before...”

    “Should have bought your ticket early,” the woman behind the counter said, putting feet up and shaking a newspaper as she settled back. Headline said: Discordant Kills Three in Fourth Octant.

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

    “Did you read the sign,” the woman said, turning the page.

    “But—”

    “What does the sign say?”

    Ayven swallowed, holding to her bag straps as several people behind her sighed and flowed 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’re not going to use? Maybe I could—”

    The woman finally lowered her newspaper and turned toward Ayven, looking at her over 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 asked, 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 booth window at Ayven, his eyes noting the colorful patterned “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 the skin tone, though browner skin like hers was more common to those with the ancestry. A person’s features weren’t completely an indication either, though she did have both the longer face and taller height as markers. Even the symbols on her strap and belt weren’t a 100% giveaway, as they’d been somewhat 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, if it was in response to Ayven’s youthful features, or if it was some sideways slur.  Either way, they turned from her, clearly indicated 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 have left, but she’d been close to the end of a project, and her impulse had been to finish it... so she’d 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 distance 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 on 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 propolsors.

    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 around to the side of the building, back to the worker entrance.  There, she watched through a 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 of them these days.  However...

    She perked up and waved as, by luck, she recognized someone.  “Les!” she called to him.  “Hey, Les!”

    A shorter man wearing an old-style roughs hat turned from a group who 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 had to ask for donations to pay their hotel bill after Vivenne had thrown up on the carpet of the party suite.  Les glanced to her, then opened the gate, waving her through.  “Don’t tell anyone.  I’m technically not important enough to comp someone a badge.”

    Brandon Sanderson

    I did a lot of those descriptions based on my home con in Lincoln, Nebraska, one of the first conventions that I ever attended. That was actually the very first. You'll see some choice descriptions of things there, mixed with the Star Trek conventions that I went to, which were my second convention ever, to one up in Omaha, Nebraska.

    Celsius 232 2025 ()
    #237 Copy

    Questioner

    So, by the end of Era 2, we witness the greatest explosion ever caused by a man. From Wax’s experiments, we know that ettmetal can be split into lerasium and atium. Could this mean that the sea is now filled with lerasium? If so, could that somehow lead to the emergence of more Mistborn?

    Brandon Sanderson

    First, to get the god metals when it divides, you have to do something specific that Wax did and no one else has done. Simply causing the explosion, you will not get the god metals; you will get something we call *inaudible*, which you´ll see in Era 3. Wax did something different. No one in Era 3 knows what he managed to accomplish. He did not <try it again>, he thought it was too dangerous.

    Ghostbloods Updates ()
    #239 Copy

    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.)

    Miscellaneous 2024 ()
    #240 Copy

    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. 

    Shardcast Interview ()
    #241 Copy

    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.

    Shardcast Interview ()
    #242 Copy

    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.

    Shardcast Interview ()
    #243 Copy

    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.

    Shardcast Interview ()
    #244 Copy

    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.

    Shardcast Interview ()
    #245 Copy

    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.

    Shardcast Interview ()
    #246 Copy

    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.

    Shardcast Interview ()
    #247 Copy

    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.

    Shardcast Interview ()
    #248 Copy

    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.

    Shardcast Interview ()
    #249 Copy

    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.

    Shardcast Interview ()
    #250 Copy

    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.