Recent entries

    Ad Astra 2017 ()
    #12402 Copy

    Questioner

    I just noticed stylistically the cover for Oathbringer is a little bit different. Is that still Michael Whelan?

    Brandon Sanderson

    That's still Michael Whelan. Yeah, Michael is really-- Michael is my favorite illustrator. I don't know if you guys know-- have read what I've written-- but I got into fantasy and science fiction because of Dragonsbane-- the cover of that. They say you can't judge a book by its cover, but it was Dragonsbane and then I went to the card catalog and found the next book closest to it that looked-- that was a dragon book. So I didn't know dragon books, and I found Dragonflight by Anne McCaffrey, which also had a Whelan cover at that point. And I just kind of-- Whelan became my go to. He's gone through various art stages, you can go look. For a while he was doing these really sweeping landscapes, as you see some of the Dark Tower covers have that, and Way of Kings-- the original-- has that. And he's occasionally done figure studies, through his career. And then with this one we're getting like a color study really, it feels like to me, which is another thing that he's done. So I kind of feel like I've gotten three different styles of covers from Michael, which I really like. I actually think his Shallan painting from the inside cover of Words of Radiance is my favorite. But that one came about because he's like, "I felt like painting Shallan," and he just did. *laughter* "Do you guys want this? I just painted it." It's really funny because Michael Whelan, like, it's really hard to get him for a cover. I mean, you know his prices are way higher. And then when he just accidentally does another cover for you. It was very cool but kind of weird. I own The Way of Kings, like the actual original. I'm so happy, like I-- after all these years of admiring Michael Whelan I had to buy that one. So it hangs in my office above the fireplace.

    Ad Astra 2017 ()
    #12405 Copy

    Questioner

    I was wondering with Emperor's Soul-- it's in the same world as Elantris.

    Brandon Sanderson

    Yes.

    Questioner

    But it's a completely different magic system.

    Brandon Sanderson

    Yeah.

    Questioner

    Do you ever see The Emperor's Soul, like, that magic system in further Elantris books?

    Brandon Sanderson

    Yeah, you will see more of that. Elantris-- So what Elantris is very-- is interesting-- is Sel, the planet that is, that each region has basically a way of accessing the magic, and they're all, in my mind, programming languages. And you use different things to program, and call functions basically. And some people etch into bone, some people draw in runes, some people make the soulstamps. You can do it through a tai chi-like thing in one of world-- in one of the lands. So it's like a-- region-based for reasons that cosmere magic experts I think have figured out by now.

    Questioner

    Well it's like there were two deities, I think, Invested in that planet?

    Brandon Sanderson

    Yep... The reason is-- and we have announced it-- the reason it is is, so on Sel-- somebody killed the two deities there, right? And then stuffed their corpses, which are just huge magic reservoirs, just *inaudible*. So all their power stuffed up into what we call the Cognitive Realm, the realm of the mind, which is location dependent. So all the magic is getting filtered through that, it does weird things to it, it makes it region-locked. So yeah.

    Questioner

    Is it the only world that has many different ways that magic is--

    Brandon Sanderson

    Well a lot of them have different ways. For instance, for-- on Scadrial we've got Feruchemy, and Allomancy, and things like that. So most worlds have different interpretations, and things like that. Sel's the only one you've seen where it's region dependent.

    Ad Astra 2017 ()
    #12407 Copy

    Questioner

    In the fifth book of the Alcatraz series, you wrote a whole section where there's mixed-in punctuation and capitalization.

    Brandon Sanderson

    Yes.

    Questioner

    Do you do that specifically to annoy the reader?

    Brandon Sanderson

    Oh yeah! Oh yeah! In the Alcatraz books every book I try to do specific things to annoy the reader just because it's so much fun. So, yeah, there's in-- the fourth book has chapters all quotes from Shakespeare.

    TheHunter

    That wasn't annoying!

    Brandon Sanderson

    Yeah, yeah. And every line of dialogue is a Shakespeare quote. And so-- And there's one in the fifth book that's all onomatopoeia. Like they only-- it only speaks-- yeah. And they are weird books. I don't know why I wrote books for twelve year olds that use Shakespeare quotes, but I-- they just had to be written.

    Ad Astra 2017 ()
    #12408 Copy

    Questioner

    I enjoy the audiobooks. Michael Kramer is awesome.

    Brandon Sanderson

    Yeah, he's great.

    Questioner

    Ramon De Ocampo is awesome. So I have two questions. One, when you give the books to the readers.

    Brandon Sanderson

    Uh-huh.

    Questioner

    Do you also, like, record for them the actual names so they know to speak... *inaudible*?

    Brandon Sanderson

    Yeah, yeah, so naming-- names in the audiobooks. So I get-- I send them a recorded-- recording of all the names. It doesn't always get to them in time. Because the production-- You can imagine, like, I'm not turning the final book in to Tor for probably another month. And then they have to get that thing recorded, and produced, and out by the-- simultaneous with the book that we are recording. So, sometimes they get them wrong. But I don't really mind too much, because I figure-- this is kind of my philosophy-- there are no really right ways to say the names. The right way is how you say it in your version of the book when you are reading it. You're the director; I provide the script. I could tell you how I pronounce the names, but I pronounce names wrong. Like, I say "KEL-see-er", right? And in world they'd say something more like "Kel-see-AY". And stuff like this. Like I say "KAL-uh-din"; they would probably say "kuh-LA-din" in Alethi. And so, I mean, I'm American. We-- I say things like Americans.

    Ad Astra 2017 ()
    #12410 Copy

    Brandon Sanderson

    For those who don't know it is Dalinar's book. Each story, each novel in The Stormlight Archive delves into one of the main characters' backstories and catches you up how they got to their first chapters in the first book. So the first book was Kaladin, second book's Shallan, third book's Dalinar. Right now, fourth book is Eshonai, fifth book is Szeth. I could end up switching those two. But that's kind of how that works. And then, for those who don't know, The Stormlight Archive-- at the end of book five there will come to a conclusion, though it's not the main conclusion, it's the end of the arc. We will leave Roshar for a while while I write a few more books, and when we come back Roshar in-world will have passed about fifteen years. And then we will do the back five characters as I call them-- their backstories. So that's Lift, Jasnah, Taln, Renarin, and Ash-- yeah, Ash. There's two Heralds among that group, so you can kind of guess what those flashbacks will deal with, in the back five. The main characters of the first five, who survive, will still be a big part of those back five. So it's not a separate series, but I do consider it two separate arcs. We need to pass some time for some various reasons.

    Ad Astra 2017 ()
    #12411 Copy

    Brandon Sanderson

    So my method of plotting-- I've been asked about, "Do I use seven-point story structure? Do I use three act format?" I actually don't use any of these things. So they're tools that I think are good to study. For me I use just a very simple: Promise, Progress, Payoff. This is what I focus on for plot,and I subdivide my stories into subplots and things and say, "What's the promise? How do I early on promise what type of plot this is. What's the progress? What's the payoff?" And you're asking how do you make sure that the hype lives up to the promise, and that is dangerous. The longer you go between books, the more that hype almost like-- I feel part of the-- If you're looking at The Wheel of Time, there were books when we fans were waiting for them to come out, that we were super frustrated by when they came out, that when I reread them in the whole series I didn't-- were less bothered by. It felt like, when I waited three years for something, the hype of what that needed to deliver was way different than when it was book ten bridging between book nine and eleven. And so that is a consideration.

    My job-- I think that if your progress is right, if you can kind of-- like if you say, "We're moving towards something here," this is the sort of emotional reaction you're going to get from it by showing-- for instance, an easy way to talk about this is a mystery, right? If you want the mystery to be really cool, then it's your progress toward the mystery that's going to indicate what kind of reveal and surprise that's going to be. If, you know, the characters discovering clues and getting more and more horrified, then the payoff at the end has to be something horrific, right? But if they're like, "Ooo! This connection and this connection together are making something really interesting. If I can just figure this out then it'll click together." Then the payoff is, instead of discovering horror, the payoff is then, "Oh, this comes together and I understand now." So you need the reader to understand that's their kind of payoff, is it clicks for them like it does for the character. And it's really-- that progress is the most important of those three in a lot of ways. If you can indicate to the reader, "This is just going to be satisfying. This character is finally going to let down this burden. That's the progress we're working toward. It's not going to be a surprise, it's just going to be satisfying. That's how you do that.

    There are certain things that there's just no avoiding the hype on. In fact, the further the series gets the more I'm worried about that, because-- in part because I'm such a believer in this kind of progress and things like this-- there are very few things, like in the Stormlight for example, that you'll get to that you will be super surprised by if you've been reading the fan forums, because the clues are all there in previous books. And so you just, I think, as a writer have to be okay with, if you're going to lay the foreshadowing, people will figure it out. And I can talk more about like, the third book has some big reveals about the world that I think the casual reader's going to be like, "Woah, mind blown!" where the people who have been on forums are like, "That's it? We've know that for years Sanderson!" But, you know, if you don't-- the only way to really surprise people is to do something completely unexpected. Which is, sometimes can be really nice, but a lot of times it just makes for a twist just to twist for twist's sake, so. I don't know that I've figured this one out a hundred percent across a series, but within a given book, yeah.

    Ad Astra 2017 ()
    #12412 Copy

    Questioner

    So is this [interludes] your way of kind of introducing more world details, worldbuilding--

    Brandon Sanderson

    Yeah. This is a way of me introducing more worldbuilding. Because-- See, one of the differences between myself and the previous generation of epic fantasy writers is I tend to be very-- I tend to stick with one location, alright? The generation before me-- and I love these books, but the generation before me-- the Tad Williams, the Robert Jordan, and things like this-- tended to be quest epic fantasy. You'd go one place-- It's kind of following the grand Tolkien tradition. "We gotta get over there. We're either chasing somebody or being chased by somebody." Right? And you then travel across a varied landscape, meet lots of interesting people on your way to the place. Well I don't like to do that. I think it's partially because I grew up reading those. I'm like-- Those authors covered that really well. Or maybe it's just my natural inclinations. I write a little more Anne McCaffrey style, right? She would pick a really interesting location and spend a lot of time on it. And that's what I like to do as well. So you don't get to travel as much in my books. A lot of times in my books it's like, "We're traveling!" Chapter 1: "We're going to go on this trip!" Chapter 2: "Hey, we're there!" We cut out the, you know, the boring stuff in the middle, and we go to an interesting location. And I really like to dig into this interesting location. It let's me as an author really explore various parts of the setting. But what that does is it means you don't get as much of the breadth. Like when you have to traipse with Frodo and Sam all the way across Middle-earth, you feel how big Middle-earth is. And you don't get that in Mistborn, where it's like, "We're going to stay in the city!" and things like this. And so, in Roshar, being able to say, "Here's what's happening across the world in a different culture," is really valuable to me in the interludes. But I also know that some people just don't want to read that, and I wanted to give them a clue that this is the scene that you can skip and read later if you just want to get back to the main character.

    Ad Astra 2017 ()
    #12413 Copy

    Questioner

    You mentioned you like the interludes-- that the assigned characters don't take over the story. Is that to say that we will never really see those characters again or do--

    Brandon Sanderson

    You will see them on occasion. For instance, in the first book there's a guy named Axies the Collector, right? And in the second book in one of the interludes somebody walks by him, right? But the idea is that the interlude characters, for the most part are-- I'm not promising you an entire story about them. They-- you're getting a glimpse of the world and most of them will not return. A few of them will, on occasion. You'll see references to them and things like that. Their main point-- the main point of them is so that we can-- I can just have a pressure valve to just tell stories about Roshar that don't have to necessarily be in the main plot. Though I always choose one-- I choose them very specifically, right? I do them knowing that there's something-- some part of the world that you need as a clue for later on. If you like foreshadowing and stuff, a lot of these have foreshadowing.

    Ad Astra 2017 ()
    #12414 Copy

    Questioner

    So at the end of Words of Radiance Szeth gets Nightblood. But Nightblood on Nalthis will suck your Breath until you die.

    Brandon Sanderson

    Yes.

    Questioner

    So how can Szeth-- like presumably it takes whatever Roshar's form of Investiture is.

    Brandon Sanderson

    Yes.

    Questioner

    So how-- but wouldn't it kill Szeth?

    Brandon Sanderson

    So that's-- First off let's make-- let's mention this: no spoiler questions. That spoils the end of Words of Radiance.

    Questioner

    Oh, I'm sorry.

    Brandon Sanderson

    You're okay, but let's avoid spoiler questions. That one will specifically be answered in the next book. So you don't have to worry about that as much. That is a read and find out. That one-- but it's a read and find out that's very obviously the answer is coming.

    Ad Astra 2017 ()
    #12415 Copy

    Questioner

    What's the etymology of "slontze"?

    Brandon Sanderson

    ...This is from the Reckoners series, Steelheart. I wanted a fake Yiddish word. So I, you know, mention things like this, and it's not actually-- I-- It doesn't quite fit, but I wanted something that had the right feel, like that. I don't know why I wanted a fake Yiddish word. That just felt-- So I went through a bunch of Yiddish slang, and that's the word I came up with. So, that's what I do a lot, like "I want the feel of this."

    Bands of Mourning release party ()
    #12417 Copy

    zas678

    It seems to me that members of the [LDS] church generally like Elantris a lot more than people who aren't in the church and why do you think that is?

    Brandon Sanderson

    I haven't noticed that but if that were the case… boy. I don't know that whole Raoden just pushed through it has some sort of tying your spirit to it and that's definitely-- I could see that being relevant.

    zas678

    I've been told it's Hrathen's struggle with faith.

    Brandon Sanderson

    I think they like the whole-- the whole evil missionary thing would be something thing that members of the church would be like "Ahh evil missionary?! That's cool!" *laughter* So I think that's totally possible but I hadn't noticed that specifically. I think that it is also a book that is less focused on the action and fighting. Like Mistborn is more focused on that, and so I would expect that there's that relevant issue, perhaps, as well.

    Bands of Mourning release party ()
    #12418 Copy

    Questioner

    This is kind of a shot in the dark but is there anything you want to tell me about whoever writes the Ars Arcanum?

    Brandon Sanderson

    The person who writes the Ars Arcanum is a character in-world from a book that is been written but has not been published.

    Questioner

    Is it a book that has been announced?

    Brandon Sanderson

    It is a book that's been announced, the title is known.

    Footnote: The Ars Arcanum are written by Khriss, a character originally from White Sand.
    #ars arcanum #khriss
    Hero of Ages Q&A - Time Waster's Guide ()
    #12419 Copy

    Vegasdev

    Alendi's "Piercings of the Hero"?

    Brandon Sanderson

    This is part of the manipulation Ruin did during the classical era on Scadrial, before the coming of the Lord Ruler. Piercings, and Hemalurgy, were part of the world before the coming of Allomancy in its modern form. Then, they were seen as a means of communicating with deity—which, indeed, they were. Ruin manipulated this to make sure any Hero of Ages who came would be under his influence. The reference is included mostly to indicate that yes, Alendi was under Ruin's influence. He ignored Rashek, though. (At least, right up to the moment when everything went 'wrong' for Ruin, when Rashek killed his chosen Hero of Ages.)

    Hero of Ages Q&A - Time Waster's Guide ()
    #12422 Copy

    Tyran Amiros

    How/why did you decide to go with Sazed as the epigraph author? I'll admit I was absolutely positive it was going to be Rashek, if only because of the parallelism (ancient story in epigraphs/modern story in text).

    Brandon Sanderson

    I chose Sazed because I felt that Rashek would have just been too obvious. I wanted this book to look toward the future, particularly with the ending. The epigraphs have been a fun and unique part of these books, and I wanted to make sure the ones in the third book were as good as the ones in the first two books. Also, there's a theme—there's always a secret in the epigraphs. In the first one, it's that Rashek was really the Lord Ruler. In the second book, it was the textual changes hinting that Ruin was manipulating the prophecies. In the third book, I wanted to have an equally surprising reveal to the epigraphs, and knew that it had to be something different from the other two. Hence Sazed. (Plus, I really wanted to dig into answering some world questions that I felt couldn't be answered by anyone other than Sazed.)

    Hero of Ages Q&A - Time Waster's Guide ()
    #12423 Copy

    LostKnight

    I am curious if any changes were made to the story after you got A Memory of Light or after the Name of the Wind was published? The style hasn't changed, but the story seemed to flow much better this time around.

    Brandon Sanderson

    Actually, no. This one was finished off back before I knew anything of A Memory of Light or before I'd read Name of the Wind. Hopefully, the smoothing is a result of me trying to work out kinks in my storytelling ability. I'm learning to distance out my climax chapters, for instance. (I think I've I'd have written this book years ago, I'd have tried to overlay Spook's climactic sequence with the ending ones, for instance, which would have been a mistake.)

    Also, of the three books, I worked the hardest on this one. Choosing that ending—even though I'd planned it for some time—was very difficult. I knew that it would anger some readers. I also knew that it was the right ending for the series.

    I'm glad it worked for you.

    Flinn

    I have to admit, I am one of those angered. I will be so glad when this cliché of killing off the heroes will finally pass. I escape to fantasy for the happy ending. If I wanted to be depressed I'd grab a 3-dollar bottle of Mad Dog 20/20 and drink it all and contemplate my mundane life. I can't spend much time reflecting on the book because of the mental picture of Vin and Elend dead in a field keeps popping up instead. They didn't even get a chance to reproduce.

    Now outside of the horrible ending (which wasn't surprising in the least because it is so common to kill the heroes) I enjoyed them. I absolutely cannot wait to read your books written 10 years from now. You can definitely pick up the improvement in transitions and character development in each book I've read from you. I'm quite often reminded of David Eddings although I'm sure plenty would disagree. And while Eddings isn't one of my favorite writers to be at his level (to me) so early in your career leads me to believe great things will be coming.

    I would like to ask you one thing to consider when writing endings. Fantasy is an escape, please don't ruin it with such depressing endings. When you have had the opportunity to look upon your dead wife in her coffin, reading about others dying isn't fun at all. It is absolutely terrible. Happily ever after.

    Brandon Sanderson

    I understand your anger. I wrote the ending that felt most appropriate to me for this book and series. I didn't find it depressing at all, personally. But people have reacted this way about every ending I've written.

    I won't always do it, I promise. But I have to trust my instincts and write the stories the way they feel right to me. I didn't 'kill off' Vin and Elend in my mind. I simply let them take risks and make the sacrifices they needed to. It wasn't done to avoid cliché or to be part of a cliché, or to be shocking or surprising, or to be interesting or poetic—it was done because that was the story as I saw it.

    I will keep this in mind, though. I know it's not what a lot of people want to read. Know that I didn't do it to try to shock you or prove anything. And because of that, if a more traditionally happy ending is something that a story requires, I'll do that—even if it means the people on the other side of the fence from you will point fingers at me for being clichéd in that regard as well.

    If it helps, realize that one of the reasons I added the lines in Sazed's note was to let the characters live on for those who wanted them to live on. I ALMOST didn't have Spook even discover the bodies, leaving it more ambiguous.

    Ad Astra 2017 ()
    #12424 Copy

    Brandon Sanderson

    I'll be reading to you from one of the interludes, which are interesting things to write.

    So if you haven't read Stormlight-- Epic fantasy has this sort of problem, right? I love epic fantasy. I grew up reading epic fantasy. It's my first love of genres. And I have an advantage over some of the people writing epic fantasy in that, like you know, [George R. R. Martin and Robert Jordan], in that I've read [George Martin and Robert Jordan], and they don't have that advantage... Robert Jordan couldn't read Robert Jordan and necessarily had to write the stories, and I feel like at-- when I sat down to approach Stormlight Archive, which I kind of want to be my big epic, right? Hopefully I don't do anything bigger than this... *laughter* 520,000 words long. The writers in the crowd-- Yeah, 520 is pretty long. It's a quarter longer than Words of Radiance was. I am trimming it in my fifth revision. That's where I normally trim. So maybe we'll get it down to like 470 or 450 or something. But at 540... *inaudible* wants to go up. So I looked at these epic fantasy books that had come out before it-- series-- and I said, "What can I learn from them? How can I prevent myself from following in some of the same problems?" And I noticed that a lot of these big epic fantasies have this issue, kind of mid-series, where the side characters kind of take over the story, and the story deviates from its focus on to a side character focus for a while. It seems to happen very commonly. And as a writer my instincts said what's happening is the writer is wanting to show the expansiveness of the world, which is one of the big things we try to do in epic fantasy, right? They're trying to show the breadth of it, and they do this by adding characters from lots of different walks of life and different parts of the world. Which is a good instinct, right? It's gonna give you that sense of size and scale to the epic fantasy. But what happens is you kind of promise them these side stories will have their resolutions, and as you're pushing kind of towards the ending of your series you realize, "I need to tie in all these side characters." And so you end up with these books that are really focused on side characters, wrapping up their stories, and it feels like it creates a speed bump in the series. And so I said, "Well what can I do with like the format of my books that will mitigate this? Is there something I can do?" So I was kind of-- I'm a big fan of...

    My thought was, I would write the books and I would find natural breakpoints inside of each book where it wouldn't feel like as much of a speed bump to kind of go off to somewhere else. Like, one of the problems with like some of these side stories would be like you're really into one of the main characters' stories and then it's like, "And then here's viewpoint from random person that you don't care about," right? Which you do care about! Some of the side characters in Wheel of Time were some of my favorite. But it's just that momentum you've got on the main characters, and then it feels like it's a break, we don't see them forever. So I try to find natural break points, that I would then insert completely random things from around the world, but I would only give myself, like, two of those per break and then I have to be done. And you know-- this forcing myself in this format with the interludes I felt like allowed-- would allow the reader to be able to know what's coming, so that, you know, if you can anticipate-- if you're like, "Alright, we have our break now. We can go to the side characters. Really enjoy them. Get to see the breadth of the world," And then we can come back to the main story and know that it's coming back very quickly. And also know that these side characters aren't going to take over the story. That there's only going to be this space for them. And you also kind of know-- for those -- I do know some people who read an entire Stormlight Archive book and then go back and read the interludes, as if they-- They're basically a short story collection in the world of Roshar. Now, skipping them is dangerous because I usually use the interludes for one important character. And each interlude has one really relevant character for each book. So in the first one, Szeth has interludes, right? And he's a very relevant character. And in this one-- well you'll see who it is in this one.

    But I also like doing readings from the interludes because reading the interludes don't spoil the book nearly as much for those who haven't read the first ones, or things like that.

    Calamity Seattle signing ()
    #12425 Copy

    Questioner

    neuroatypicals

    Brandon Sanderson

    Oh, my pleasure. She says that she has Asperger's and when she read the book The Bands of Mourning, and the other ones that have Steris in them, she identified a lot with Steris. I appreciate that.

    Questioner

    Brandon Sanderson

    What research did I do, did I talk to autistic people. I have several people in my life who actually have Asperger's specifically, and they were a huge resource, as you might imagine. One of the things that I like to do, kind of a mandate I have in my fiction, is to try to get people who are heroic who have different types of psychology than we usually see in heroes. Because the more I've lived in life, the more I've realized that we all are really distinctive in our own way, and our psychology all works differently. And yet we see a lot of heroes that all kind of have the same brain chemistry, it seems. Which has always felt really weird to me. And so it's kind of one my mandates to do that.

    What research did I do? When I was in college, one of my favorite things to do was sneak into classes I wasn't signed up for, and the psychology classes were my favorite. This friend, who coincidentally was the one who wanted to be a chef, actually got a psychology major. His parents were "You should do something useful with your life." and so he got a psychology major, which he ended up going to med school. He didn't become a chef, he went to med school. He likes that too. But I would sneak into his classes and they were so useful as a writer, just listening to the different types, and to start to see personality not as-- We like to look at a lot of things as being normal or abnormal, but that's not the way it is. Everyone's personality is on this interesting spectrum and what is normal and what is abnormal is completely a matter of perspective. Where you stand on this line as opposed to-- It's like trying to make a value judgement that shouldn't really exist. And to come to see these personalities as great swathes of interesting color is what the psychology classes taught me. And so there was that and I did do some specific research for Steris and then I interviewed people as well.

    I'm glad that you picked up on it without me ever having to say what she was, and things like that. That's when I really feel like I've nailed something, when you can read something and say "Yeah that's who this person is" instead of someone outside pointing and saying "this is who this person is, who they are"

    Words of Radiance Houston signing ()
    #12431 Copy

    Questioner (paraphrased)

    In the chapter 84 code, does the sequence 111 denote a special character such as a space between words?

    Brandon Sanderson (paraphrased)

    I do not believe there is a 111 to separate words unless it was added by Peter when I wasn't looking. I will say this, the key is in another epigraph.

    Words of Radiance Houston signing ()
    #12434 Copy

    Questioner (paraphrased)

    How much more powerful is Nightblood than a regular Shardblade?

    Brandon Sanderson (paraphrased)

    I haven't actually quantified that in my own mind so can't give an accurate comparison at this point. I will say that when he is fully consuming Investiture he can do some really freaky things.

    Shadows of Self Boston signing ()
    #12438 Copy

    Questioner (paraphrased)

    Has anyone figured out what the secret in the map was, in Words of Radiance?

    Brandon Sanderson (paraphrased)

    Yeah, they have. That it's modeled after the Julia Set. Which is meant to indicate that Roshar was designed specifically.

    AndrewStirlingMacDonald (paraphrased)

    Did it happen through crem buildup?

    Brandon Sanderson (paraphrased)

    No.

    Shadows of Self Boston signing ()
    #12439 Copy

    Questioner (paraphrased)

    Who is your favorite living author?

    Brandon Sanderson (paraphrased)

    Favorites right now, writing. Probably my favorite right now is Guy Gavriel Kay. It was Terry Pratchet until he passed away. And it was Robert Jordan until he passed away. So I hope Guy stays safe. Because getting picked as my favorite author is apparently a death sentence.

    Shadows of Self Boston signing ()
    #12440 Copy

    AndrewStirlingMacDonald (paraphrased)

    Is being a little bit crazy a prerequisite to becoming a Knight Radiant?

    Brandon Sanderson (paraphrased)

    Well, so, for many of the cosmere magics to work, you have to... it has to get into the soul somehow. Right? Sometimes you ram it in by spiking someone else's soul and ripping off a piece and sticking it into yours. Sometimes, it just seeps in the cracks. Sometimes the bond allows it to kind of bypass some of this, but it's usually traumatic experience. So crazy is not required, but there's got to be a place for the magic to go, to get in.

    Shadows of Self Boston signing ()
    #12441 Copy

    AndrewStirlingMacDonald (paraphrased)

    So Wax, in the prologue of Alloy of Law thinks of himself as Wax, and then as Waxillium for the rest of the book, and then that's reversed in the second one. Is that a thing of cosmere import, or is it just a--

    Brandon Sanderson (paraphrased)

    It kind of indicated how he feels about himself.

    AndrewStirlingMacDonald (paraphrased)

    Could it have any impact on his ability to use Investiture?

    Brandon Sanderson (paraphrased)

    Not really. The investiture on Scadrial is not going to care how you're feeling about yourself. On other worlds, that's important, but not on Scadrial.

    GollanczFest London ()
    #12443 Copy

    Questioner (paraphrased)

    *inaudible* [Presumably about the interval between Stormlight 5 and 6]

    Brandon Sanderson (paraphrased)

    I can't tell you too much without giving you spoilers. It's not a jump like Mistborn. It's more like ten or fifteen years. It will be the same characters, but some of the main characters will fade to be more minor characters, and some of the minor characters will fade to be more major characters. For example, Lift is one of the main characters for the second part, and Jasnah, and Renarin, and such.

    Hero of Ages Q&A - Time Waster's Guide ()
    #12445 Copy

    Ahoymatey

    Brandon, I just wanted to confirm that you did have a couple of cameos as Slowswift? Or was that mean to be someone else?

    Chaos

    I'm pretty sure Slowswift is Hoid. The Ars Arcanum says he "bears a striking resemblance to a storyteller", which I take to mean Hoid.

    Brandon Sanderson

    Slowswift is an homage to Grandpa Tolkien. A study of his personality will reveal why that name was chosen for him.

    Hoid appears in that same chapter, but Vin doesn't meet him. Something he does spooks her. She's just too darn observant for her own good.