Is Dalinar's wife really dead?
Is Dalinar's wife what?
Really dead.
Is Dalinar's wife really dead? That is a Read And Find Out, and you will discover it in the third book.
So is there an opposing force to Adonalsium.
Good question, which has been asked before and i haven't answered it so I'm going to RAFO you as well.
I think that I have occasionally said 'yes' with the caveat that, obviously somebody opposed him because he was Shattered. I haven't confirmed if there is like a 'Devil' or something like that if that's what you're looking for.
Why does Bastille say they're speaking Melerandian in book 1 and Nalhallan from book 2 on?
When I originally wrote Alcatraz Versus The Evil Librarians, I put that in there partially as a throwaway joke. Melerand is one of the main kingdoms in Dragonsteel, and I thought it would be amusing for them to be speaking that language somehow filtered into this world. By the end of the book I decided that Alcatraz could not be anywhere in the same continuity as Dragonsteel and that I was probably wrong for including that. Though there are other jokes in there relating to my other books—it's much like the scene where Quentin speaks in Spook's dialect. Those were just jokes, inside references to my other books.
Remember that Alcatraz was written as a writing experiment, not as something that I was intending to publish. As the series grew more serious to me, meaning that I developed what I actually wanted to happen—which with me usually happens as I write book two of a series, when I sit down and build an arc for the entire series—I "realified" Alcatraz's world a little bit, if that makes sense, made it its own substantial thing. So at that point it wasn't appropriate for them to be speaking Melerandian anymore.
Is there a plan for a book focusing on Hoid or will he always remain an enigma?
The final Mistborn sequence will have him as a main character, as will the Dragonsteel prequel novels.
Is Dragonsteel still planned to be the bookends for the cosmere (2 eras)?
Yes, but not exactly how you think. It will make sense when I do it, but the final Mistborn series will be the actual end--Dragonsteel will link to it, though.
In Words of Radiance, the Stormfather refers to himself as a Sliver, how is this the case when he is apparently a Splinter?
The Stormfather is a Cognitive Shadow, but he doesn't know the correct terminology. Terms such as Splinter and Sliver don't really apply to him.
Have you written/will you write something equivalent to the Silmarillion for the cosmere?
It's not impossible, but I'm not planning on it currently. There WILL be a prequel series, dealing with the events leading to the shattering of Adonalsium, but will focus mostly on Hoid and not really be equivalent.
Is that planned to be completed/released after the main overall Cosmere story is completed? Or will it lead up to the finale of the main Cosmere stories?
It will lead up to the finale.
Did Nazh retrieve Jasnah's belongings from the bottom of the sea by visiting Shadesmar, finding the correct beads, and moving them to land?
Yes, that would be the easiest way. Nazh spends a fair bit of time in Shadesmar, and that this would be the first thing he would think of when asked to retrieve Jasnah's stuff.
Did Shardplate always have gemstones, or were they added later, after the Recreance?
They were added, but maybe not just after the Recreance. They were added to Shardplate about the same time that the discovery was made that adding a gemstone to a Shardblade would allow it to be bonded.
Did Wayne really steal a Returned horse?
*laughs* Did Wayne really steal a Returned horse is what you guys are asking? Aaaahhh I did not have Wayne stealing a Returned horse--
Or otherwise invested?
I'm not going to say whether or not-- there could have been things going on, but no, there is no stealing a Returned horse-- Is there a theory that the horse was Returned and that, from like, the prologue?
Oh no, that's just from me.
OK, OK, sometimes people ask these questions and there's like this huge forum thread where they think they've figured something out and I'm like "Returned horse?? What??"
When you took over the whole Wheel of Time thing, that must have been-- there was so much going on there... they had their own characters and you had to immerse yourself in that role and to try to create-- writing in your own words. Do you think that helped you develop as a writer?
It totally did. The most I've grown as a writer was my first year writing, but after that, the number two time that changed me the most, was working on The Wheel of Time. It was incredible, and awesome, and terrifying, all at once. The hardest thing I've ever done professionally was write those books. For those who don't know, I didn't know Robert Jordan or his wife. I got a phone call one day, asking if I would finish his series. His wife, who was also his editor, she discovered him and then married him, which is a really good way to make sure your editorial advice is taken; *laughter* he asked her to find somebody-- before he passed away he said to her "If I don't make it, go find somebody". So she read Mistborn and she called me, and asked me "Would you be willing--" Now she knew I was a fan of the series, because I'd written a eulogy for Robert Jordan on my website, and that's how she found out about me. But then she just called and said 'here', and the things was, she then had to go grieve, right, she's like "Once you're done I can edit it, but I'm an editor, not a writer, I can't write this myself". So she gave me all the stuff, and then I basically did it all by myself for a year, and wrote that first one. I did send her some test chapters, is this right, is this wrong, but it was a very daunting task, he had not finished very much of the book. He had some notes, but he was a discovery writer so his notes were very vague. "I'm thinking about this happening", "oh, this character has a scene that's kind of like this", "I might do this, I might do this". A lot of stuff like that in the notes and so there was a lot of-- I describe it like someone takes a Ming vase and they smash it and they throw away half the pieces and they throw in pieces of another vase just to screw you up and they give it to you and they're like, "Alright, now make the vase, see if you can do that".
He did a lot of foreshadowing in his books...
There were certain things he did, to have out, and some of the most important ones he did have, other ones, I just had to catch the ball that he had thrown using my experience as a writer.
In terms of books that you wish you could have written yourself?
I read a lot of things for pleasure. I think I need to stay up on what everyone else is doing. As a teen, my favorite writers were Anne McCaffrey, Melanie Rawn, Barbara Hambly, Robert Jordan, Tad Williams, it would probably be. David Eddings too. I grew out of David Eddings, happens when you get into your twenties, but during my teens he was the bomb. Do kids still say that, the bomb? I'll have to figure out what they're saying now. Nowadays I read Pat Rothfuss, I really like Pat, I really really like Naomi Novik's Uprooted, if you guys didn't read that this summer it's a fantastic novel. I like Brent Weeks' work a lot, Brian McClellan's, Nora Jemisin, you guys read NK Jemisin? She writes very literary fantasy; if you're an English major and you like that kind of stuff, which I do, it's amazing. Her most recent one has a character who writes in the second person, and it works. It's the first time I ever read a book where the second person, which is you do this, you do that, it actually works, it works really well. The second person past tense, so you did this, you did-- it's a person telling themselves a story so it actually, it really works. The Fifth Season. So, yeah, I read a lot of stuff.
When you take stock of the idea that you have largely been responsible for the cultivation of millions of writers *Brandon laughs nervously* to me, that's what you really bring to the world.
How do I take stock of cultivating-- Millions? I don't know if there are millions, but there are tens of thousands that watch my lectures and listen to the podcast. I think it's great. When I was trying to break in, the way I learned to write was by going and asking questions of writers and they took time for me. Captain Kirk sat me down at a convention once and talked to me for like an hour about becoming a writer, L.E. Modesit did the same thing. They were a huge resource for me, and we live in an era of social media where I can be a resource in a different way. When I was doing it I just had to try to go to a con and find them, right, there wasn't an internet-- I'm old guys, there wasn't an internet when I was a kid learning how to write and so you had to find them, talk to them in person. I can post these things out there. So I hope that it's useful. I hope the main thing that people take away from my writing is there are multiple ways to do it and there is no one right way to write. There is not a Brandon Sanderson method other than, the Brandon Sanderson method is tools you should try, and you should try George's tools, and you should try Stephen King's tools, and JK Rowling's tools, and everybody who talks about it, try the different methods they have of writing and hopefully it'll end up working out and you'll find your own method.
You’ve been known to say that the fantasy genre is the best genre because you can do anything another genre can do and you can have dragons. And yet, we haven’t had a dragon from you yet. Well we see a Sanderson Dragon anytime before Dragonsteel? I’m assuming Dragonsteel has dragons?
Yes, I smile inwardly as I say that, because I know that--indeed--I don't use a lot of dragons. I do like reading about them, but I haven't found myself eager to put them into my works. I think it's because I've read so many excellent dragon books, I figure, that area of fantasy is being covered by others--and I should try different things.
That said, Dragonsteel has dragons, and so you will eventually see them there. I don't know that I'll do them before.
Obviously a movie's going to be a long way off, but how much input would you have in it and would it be like what you want compared to what--
How much input would I have in the movie? That really depends on the producer. I can't-- I'm not powerful enough to get in the contract. I'm actually like two ranks, two like not powerful enough-- the rank of of author above me, George RR Martin's rank, they don't even have the power. It's the rank of author above that, like Jo Rowling or Stephanie Meyer-- they have enough sales that they can demand something in the contract and, you know, I'm a number one bestseller but there's a big leap between me and Stephanie Meyer or JK Rowling and so-- There's-- I would have to say no. With some authors, they just say no; I would roll the dice and gamble on getting a good movie and I try to stay very in touch with the producers, so they know I'm a good resource, and some of them have made use of that, and some of them have made less.
Utah is very, very far from here. Have you ever considered a seminar in creative writing here? In Europe?
Yes, creative writing. My wife wants to live in Spain for a while, she speaks Spanish... and she actually really really loves Barcelona and so we are planning, like, 2017 or 2018, to come live there over the summer, and if I do that I'll try to teach my class at a local university, or something like that... And if I ever do that for England, which I could see us doing over the summers periodically, then I will ask if any local universities want to have the class. But if you want to watch my class I do post the lectures online. You'll find them on my website, brandonsanderson.com/writing/advice and you can go watch my university lectures there.
But yeah, I would love to do that at some point, it's going to take a little while 'til we figure out how to make it work, but my wife will be happy to know there's at least one person pushing for us to go to Spain. We were in Aviles and I loved that. Have you ever been to Aviles? It's up on the northern coast, it's great. They have a science fiction convention there, it's called Celsius 232-- whatever Farenheit 451 would be in Celsius.
So, of course we need to ask you to start about something which is important, which is the sale to DMG of the rights for the Cosmere. Now it's not just, I mean, it's the champion's lake that we're talking about, right? You're at the same level as many very important authors, and the rights will be sold to the cinema, TV, and so on, so forth, the Cosmere books, which can be about thirty. My question is, are you excited about that? Are you scared, or both? Because you know that when dreams come true, sometimes it's not as nice as it seems. So, the question is, now that you have made your dream come true, will you think that you were better when you were writing and having that dream, or is it okay now?
A writer I once read got asked what he thought of the bad movie that got made from his book. Actually, the phrasing of the question is, "What do you think of what they did to your book?" And I have always remembered his response, which was, "My book is the same. It's right there. They did nothing to my book; they made a bad movie." My dream is not to make movies, my dream is to write books, and I am living that dream right now. Now, the chance of having a good movie come out is exciting to me. I wouldn't have sold the rights if I didn't want to take that chance, and hopefully we'll get some great movies and great television shows, but if we don't, I still am writing books, and my books are what I started this to do. I am going into this with my eyes wide open. I have had some good friends who had some terrible movies made of their films and I have talked to them about their experience, and I am willing to risk that happening. You can't get a Game of Thrones if you don't risk an Eragon.
I just remembered that someone asked about the whole movie deal thing, and Brandon gave a more thorough explanation.
What happened is that DMG, which is a Chinese company, came to him first about The Emperor's Soul, because they wanted to make stuff that has more Asian characters. And they wanted to do it in Hollywood, because Hollywood's seriously lacking in representation of Asians. So he sold that to them first, and then they called him back a couple months later asking about the entire Cosmere. At that time, Mistborn was still optioned by another group, but Brandon sold all the other stuff, and they started on The Way of Kings right away. And then as soon as Mistborn became available they bought that up, so that they had the entire cosmere. And he said that The Way of Kings is ahead right now, but Mistborn will likely be first, because it'll be easier to produce and stuff.
We have to wrap up, I think, so everyone here is going to kill me if I don't ask you about DMG which acquired the rights to your Cosmere. I wanted to ask how are you feeling about this, do you know at this stage how involved are you going to be? I heard you mentioned that the best adaptations are those that are done by people, just by leaving them do their thing, but I was also asking myself, in regards to this, if you're planning on any other cross-media stories? We have White Sand, we have whatever happened to Mistborn: Birthright. I wanted to ask about that too, because...
So, we'll start with Mistborn: Birthright. Unfortunately, it is dead, sorry. This was a video game we worked on for many years, and it just is not going to happen. As for other cross-media stories, I am very open to doing more. It will depend on how White Sand is received, and whether I can do other video game projects that look like they will work. As for the film, I spent a long time interviewing a lot of different people before we decided to go with DMG. I chose them primarily because I feel they understand the Cosmere, and are willing to approach it as a whole, as opposed to little pieces of something not connected. How much I'll be involved really remains to be seen. They've promised to let me be involved, they gave me a fancy title, we will see once the film's actually in production. I have every reason to believe that they will involve me, and so far they have done so, but I don't want to be the one directing or writing these films, because I am not a director or a screenwriter.
I wondered if there's a bit of you in all the characters... and it's characters where they don't have bits of you that you get stuck with writing them, and how you overcome that?
Yeah, getting stuck. So characters are the hard one for me to talk about because I plan my worlds in great detail before I start writing, in most cases, and I plan my plots in moderate detail. I plot backward, I start with what I want to have happen for a plot cycle; not necessarily the last scene, but, you know, something like this character learns to use the magic, and I've got the scene where it shows that this is working, and then I list a bunch of bullet points underneath. That's my-- And so if you look at my outline, it's like goal, bullet points, goal, bullet points, goal, bullet points-- that's my whole outline.
My characters, I figure out who they are when the book starts, but I do not outline them in great detail. The reason for this is we find that writers tend to fall into two general camps. We have what we call outline writers, and discover writers. Now, discovery writers, George RR Martin calls them gardeners, they like to discover their story as they go. Stephen King says you never start with an ending in mind because otherwise it ruins the book, he just goes and see what happens. They tend to write character really well. In fact if you're reading a good and you go "Wow these characters all feel really vivid and alive", that's probably a discovery writer. If you're-- On the other hand outliners, or architects as George RR Martin calls them, tend to plan everything out ahead of time and because of this they tend to have spectacular plots. If you've got somebody who's got a great plot, it's a page-turner, the great twist at the ending-- that's most likely going to be an architect, but the flaw of this is they tend to have weaker characters; and the flaw over here is they tend to have weaker plots. Terrible endings are a horrible kind of habit of the discovery writer.
Over time I've really tried to kind of mitigate this by letting myself discovery-write my characters to kind of get some more of that living character status, which means I have to have a flowing outline where, once I've started writing my way into the character I will then have to rebuild the outline periodically to match the person they're becoming, which sometimes rips apart that outline quite a bit. The other thing that it requires me to do is I often have to kind of cast characters in a role. Vin is a great example of this, where I actually tried Vin three different times--I posted one of these on my website--with a different personality each time until I got one that would fit the story that I'm telling, and who she was, and I went from there.
And so it's really hard for me to pick out what I do with characters, but if my book is not working it's almost always that a character is not working for me. And this happened with Sazed in book 3 of Mistborn. I wrote this in the annotations, you can go and read it off that. Dalinar, in the original draft of The Way of Kings. When a character is not clicking 100% it is the biggest problem I run into with books, that takes a lot of drafting to figure out what to do. With Dalinar, if you're not familiar with what happened there, is I split him into two people. It always had his son Adolin, but Adolin had not been a viewpoint character, and the problem I was having with Dalinar was that I wanted to present a strong figure for the leader because people though he was going mad, but I also had to have him talk about this madness, and be really worried about it, and so he came on very weak, because everyone thought he was going mad, and he spent all of his time brooding about going mad. When I took the brooding out to his son, and had Dalinar be like "I'm not mad, something's going on, everyone thinks that I'm crazy, but I can deal with this", and had his son go "my dad, who I love, is going crazy", those two characters actually both became more alive, and worked better, than they had with the conflict of "I'm going crazy" being Dalinar's. So, it takes a lot of work to figure these things out sometimes.
Will there be any more of Silence from the Forests of Hell?
The world is very relevant to the cosmere. I have several books planned there, I don’t know how many of them I’ll write. I will at least write one of them. Silence herself is not a character from the books. I designed that story and it matched the world so I put it there. But yes there will be other things from that world.
Do you have a favorite character that you've created or one that you've tended to favor over another?
Do I have a favorite character? No, that's again, you know, the thing. I will say Dalinar is my oldest character, followed by Hoid. Those two have been around since I was 15 and so, there is some favoritism for them, perhaps, just in longevity sense.
Are you planning on continuing to the fifth book of the Alcatraz series?
Am I planning to continue to the fifth book of the Alcatraz series, which are my middle grade and young adult wacky fantasy books? The answer is yes. I did not like what the publisher [Scholastic] was doing with the Alcatraz series, so I actually bought the rights back as part of agreement last year, which gave them until January to continue selling the books, and then I got the rights back in January. But they didn't want to do the fifth book for various reasons, and so I bought them all back and am now planning on how to get them back out there. I've given my UK publisher the right to distribute in the US, so they should have distribution again. And so I'll do the fifth book sometime this year. I will initially probably just put it on my website to read because you've been waiting for so long, and then we'll worry about getting it printed somehow.
When you finished writing A Memory of Light you posted on Facebook a beautiful piece of music *inaudible* and I was wondering, do you listen to music often when you write, and how does music influence--
I do listen to music. I almost always am listening to music when I write, and I really like things like Pandora or the discover weekly playlist on Spotify, or things like this. Any time I can get something seeded with some unusual different disparate elements and discover some new music, that'll be good for me. A lot of soundtracks, Pink Floyd, a lot of Pink Floyd, <Tangerine Dream?>, stuff like electronica, like that works really well for me. What else, Daft Punk would be in that group as well. So, it's a mix between piano music, electronica and soundtracks, what you're going to see me writing to most of the time.
You're also famous for your magic systems, do you start with the effect you want to achieve or the mechanic you want to use?
It depends on each magic system, they're all different. Sometimes there's just a really interesting-- Mistborn's a good example of this. I built Mistborn because I wanted a different power for each thieving crew member and I had in the back of my mind a few cool powers to use, but others I just developed. I'd be like, alright, we need something for the fast-talker. So therefore you get the thieving-crew and the classic thieving-crew elements, and I wanted something to improve every one of them. So while I had the Pushing and Pulling already, because that was really interesting and I'd been working it out in my head, I didn't have all these powers set out for the team, so I developed those.
In other cases it's just, you know The Stormlight Archive started with the fundamental forces in physics and extrapolating outwards from them until I had ten fundamental forces because I wanted to do fantastical fundamental forces. So that one started in physics.
The magic for Warbreaker started because my editor called me, true story, and said "ah, after Mistborn and Elantris you've done some very dreary settings, very nice but very dreary, let's do something with more color in it". More color it is!
Um, what about us (Wit fans)? Will we see any more of him in this book? RAFO?
:) Well, he hasn't skipped a book in the cosmere yet...!
Was he in Shadows for Silence in the Forests of Hell, or does that only count as a story, not a book?
I was meaning full novels. There are a number of the novellas where he doesn't appear.
The short story you wrote for Dangerous Women [Shadows for Silence in the Forests of Hell], the one that's in the cosmere, is Hoid actually in that story?
Hoid does not appear in the Dangerous Women story. I made that choice consciously because I don't want Hoid showing up to be something that always has to be checked off a list. This is a story, it's not a sequence of silly cameos, it's actually a story going on behind the scenes. There was no reason for him to be there, so I didn't put him in.
I just finished Arcanum Unbounded and I have to ask: Who's the "dangerous" guy in the corner of the waystop in Shadows for Silence in the Forests of Hell? That's not Hoid, is it?
This is not Hoid. I toyed with a cameo for him in the story, but decided that forcing him to be at every little point in all the smaller stories was just having him be there for the sake of having him be there. It's better for the cosmere if I don't force him into every story, but let him be involved in the ones where he has a legitimate reason.
Beyond that, getting on and off of Threnody is not particularly easy.
This [Perfect State] is a story, a novella that I wrote, oh, maybe three years ago now. It was between two books, at some point, and I didn't have anything to do, but I knew a revision was coming back soon, so I didn't want to start another big project. And so, I sat down and wrote this. And I just finally had time to do a revision on it, so we're going to be releasing it, this spring sometime.
I think what we're doing is we're putting this and the story that's in Dangerous Women [Shadows for Silence in the Forests of Hell], if you haven't read that, we're putting together in a little two-pack collection that I'm gonna be taking to conventions and things like that. So, that's how you would read this.
What is your favorite book that you've written?
My favorite book that I've written? I can't pick a favorite. It's like trying to pick a favorite child.
You always have a favorite child though...
Yeah *laughter*, no favorite children, I just skyped with my children and they showed me their Halloween costumes, it's the cutest thing ever, but the littlest one, he's two, he's a Minion and he's so cute as a Minion, because he can barely talk as it is... and then the middle one is a skeleton and he just said "it's so scary dad, it's so scary, you're going to be so scared" and then he puts it on and I have to pretend to be scared. He scares himself looking at the mirror. And the seven year old's in karate now so he bought a ninja outfit and he thinks he's a real ninja because he's learning karate.
What gave you the idea to use chalk in Rithmatist?
I cant even remember. I was just wanting to play magical Starcraft on the ground and chalk made the most sense.
With the chalk *inaudible*
They do not believe right now, but the study of actual chalk composition is a relatively new science that they have not paid enough attention to.
So I'm in the middle of Hero of Ages, and I'm noticing there are constant parallels between Vin and the Hero of Ages and Elend and the Lord Ruler?
That's done intentionally.
Is it going to hurt?
Is the ending going to hurt? The ending is the right ending. It's going to be satisfying, but it also might hurt.
The finale of Hero of Ages is incredibly ballsy. Were you at all concerned about backlash?
Yes, I was. As was my editor. We both agreed it was the right ending, though, and so I didn't have to do much convincing.
What should I be looking out for to see Hoid in this one [The Bands of Mourning]?
He's pretty obvious in this one.
Oh he's obvious in this one? I remember the last one he barely popped in.
Yeah the last two he's been barely in. This one he actually is-- He's up to something in this one.
How do you write a sequel first?
So, it makes a lot of sense to me. ...I'd written about a quarter of the next Mistborn novel while I was doing revisions for A Memory of Light. I'd send off A Memory of Light, I'd have, like, a month until Harriet got back, so I wrote a little bit of this. It'd come back, I'd stop, I would do the revision, and then I'd go back and have about a month so I'd work on this. The problem is, picking up a book mid-stride, that I had worked on years ago, because then I put it aside and I wrote other things, I wrote Words of Radiance. Coming back to it was really hard. You can imagine that starting mid-stride something that was half-done, might actually be harder than starting something new. When I finished Alloy of Law originally, I plotted a trilogy of books to follow it. Alloy of Law was more freeform; the trilogy, I did my normal build-a-trilogy. So, I had the second book all outlined, I could jump into this a lot easier, there's a break between books two and three, so the characters have reset a little bit, not gone backward, but, you know. Anyway, it was so much easier to go write that book, to get myself back in the world and the mood, then jump back and finish the book before. So that's why you're getting two Mistborn books, rather than one in the next few months.
Which was really fun, by the way, to send to my editor and my publisher and my agent. None of them knew. I sent them an email, I'm like, "Great! The book's done!" And attached were two books. *laughter* And then I went to bed, because I was doing this at, like, 5:00 AM. So, I went to bed, and I got up to a flurry of emails. "Um, Brandon? Do you know? What'd you just do? Where'd that other book come from?"
Waxillium gets pushed to the brink, watching the robbery
I realize it's amusing for people to think of the process of this book, which began as a "short" story. Perhaps I'll post my original attempts at writing the book. As a matter of note, Wayne was the first person I imagined for this series. In very early notes I scribbled down, he was actually going to be a hatmaker. (If you can believe that.) He developed a long way from there.
Many of you may know that I wrote this book during my "time off" between finishing Towers of Midnight and starting A Memory of Light. However, the ideas for this story had been around for some time longer, perhaps a year or two. I decided I wanted to do some shorter stories between the first two larger-scale Mistborn trilogies, and . . . well, this is what "short" means to me, I guess.
Anyway, the first scene with Wayne I dabbled in (this was before the break) was him out in the Roughs riding into town on a kandra that had the body of a horse. It was a nice spin on a typical Western motif—instead of being the quiet gunman of Western cliché, he was a screwball hatmaker. And his horse was sentient and grumbling about having to carry him around; she wanted to get back into a human body as soon as possible.
The scene didn't work, though. I didn't get far into it. Wayne wasn't working for me as a main viewpoint character at that time, and I hadn't gotten around to filling out his character with the things he eventually became. (His "borrowing," his love of accents, his good nature despite a dark past. Things like this grew as his character became more deep.)
The other thing that didn't work in those original scenes was the fact that there was no Wax. Wayne needed someone to play off, someone to be dry and more solemn—but still make for good banter. And Wayne just wasn't a leading man. The story was wrong when it was just about him. I needed to tell a story about someone else and fit him into it.
That brings us to this sequence. When I planned the original short story, this sequence at the party was going to be the end of it. The Vanishers weren't in the book—it was just a simple gang of thieves taking a hostage. The prologue didn't exist, as I've spoken of earlier. It was a more simple story of a man coming into his own and deciding to fight again after losing someone dear to him.
For that reason, this sequence here—this chapter with the next—may feel like a climactic sequence to you, of the sort you often find at the end of my books. Originally, this was going to be the ending. (Though by the time I reached this chapter in the writing, I'd already decided I was going to make the story much longer, and had greatly expanded my outline. Hints of the story's origins can still be found, however. Note that we don't get a Wayne or a Marasi viewpoint until after this sequence when we hit the expanded outline material.)
Butler's betrayal
Yes, the butler is a traitor. It's a cliche, but it fit the narrative very well, so I went ahead and used it. I don't think a lot of people will see it coming, though there are several clues. One of them is the fact that he makes only one cup of tea here and brings it for Wax; Tillaume is not accustomed to killing people, and he's extremely nervous in this scene. That's why he made the mistake of not making three cups and bringing them all over. (My writing group caught this, which amused me. They thought it was a mistake in the writing, though.)
One of the things that made me want to write this story, and keep going on it after I'd started, was the chance for good banter between Wax and Wayne. They play off one another well, and I haven't had a chance to do a book in a while (ever since the first Mistborn book, really) that had a good, long-established relationship between main characters who I could play off each other in this way. There is something deeply satisfying for me about this kind of writing, even though it's really just silly banter. I feel as proud of moments like Wayne toppling over because of the tea, then the conversation in the speed bubble, as I do of a deep character complexly coming to a character climax at the height of a story. That's because, at least as I see it, this is as technically difficult to pull off—the right feel of two characters with a very long relationship, talking in a way that conveys their years of experience with one another. And, at the same time, hopefully being amusing and interesting.
It's very dense writing, for all the fact that it doesn't read that way. (Unlike, for example, a really good section of dense description, laden with meaning.) Part of the reason it works is because it feels so easy to the reader.
There is a cameo of Josh & Mi'chele in Alloy of Law! There's a gunfight at their wedding reception
Chapter Seven
Marasi finds Waxillium experimenting with metals
I was very amused to find that the cover of this book had been steampunkified a little bit, with Waxillium having a pair of extraneous goggles on his head. But, to be fair, I did put some goggles in the book, so I guess I can't complain too much.
One thing I was aware of when writing this book was that I didn't want it to feel too much like Sherlock Holmes. There are a lot of parallels, as I mentioned in an earlier annotation. It was important to me to acknowledge the obvious influence to myself, but try to keep myself from falling too much into the same mold.
That's kind of hard when the story is set up, basically, to be a mystery with an investigator set in a similar time period to the Holmes stories. In my head, however, I decided this book would be more police procedural and less quirky-genius-does-deduction. I wanted Waxillium to be a cop, through and through, not an eccentric who solves cases out of curiosity. In that regard, Sam Vimes—from Terry Pratchett's books—was almost as much of an inspiration as Holmes was.
Anyway, that's all a side note to what is happening in this chapter. Waxillium is being methodical in the way he tracks down what is happening. He's very much a step-by-step kind of guy in these matters. And now that he's let himself loose and decided to be involved, he's gone a little overboard.
There will be a _____ Twinborn somewhere in the novel, a Twinborn with matching metals a la how the Lord Ruler used atium.
The Book's Title
It's from this chapter that we get the title of the book. The Alloy of Law. I realize it's an odd title. However, something about it strikes me. I don't think everyone is going to like it; it's certainly not as immediately powerful as something like The Way of Kings. But then, it's also a little more unique. It does, in my mind, encapsulate the theme of the novel. The idea is that these two men—Wax and Miles—are both taking their own interpretations of what it means to follow the law, and mixing it up and making something new of it. This book is a confrontation between their two different ideals.
The working book title was simply Wax and Wayne. (As I was writing the early chapters, that was how they were titled.) I knew this title wouldn't stick, however, as it's a pretty lame pun. Now, I happen to be fond of lame puns. But they don't belong in book titles unless you happen to be writing Xanth or Bob Asprin-type novels.
I can't honestly remember which name—Wax or Wayne—I came up with first. I had Wayne as a character first, but he had a different name. Wax's name came from the Mistborn ideal, where the characters frequently had strange fantasy names that abbreviated to fun terms. (Like Hammond becoming Ham or Dockson becoming Dox.) Wax just fit well with those. Wayne, on the other hand, is a name that feels Western to me, for obvious reasons. As soon as I began thinking of the character by that name, he started to become complete to me—and so I had to keep it, even though the "Wax and Wayne" pun will probably make people groan.
Out of all the books you've written which do you think is the best?
Well, Emperor's Soul is the one that won a Hugo, which gives it some objective credibility for being the best. [A Memory of Light] was the hardest by a long shot, and in some ways the most satisfying, but I'm perhaps most proud of The Way of Kings. So one of those three, likely.
In one of the Stormlight books, or Way of Kings, it says "3 of 16 ruled but now the Broken One reigns", so did they-- did the three of them have a pact?
That's a RAFO.
"--and then the Broken One reigns"?
That's a RAFO.
Will Stormlight 2 have more Shallan? I require more Shallan.
Much more Shallan. It's probably going to be her 'flashback' book.
When will the Alloy of Law gaming supplemental be released?
The supplemental was originally slotted to be released this spring/summer but Crafty Games is a little behind schedule on it. Just keep your eyes open for more news on the websites!
You say that there's part of you in every character, but what of you is in Vin as a character?
What of me is in Vin? The inherent belief that people are good. And Vin does believe in that. She believes that deep down, that people are good, she just doesn't believe that she belongs with them. Does that make sense?
Books were published in sort of different territories and different countries, obviously there's always different covers for different regions. So America has like a certain style of cover which is very different from what we have over here. How much input do you have into, sort of, the artist, who is chosen and do you have a favorite sort of style of cover for your books?
Very good question. So, I don't necessarily have a--how should I say--I get to have a lot to say these days over cover artists. I could ask for a cover artist, if they're available, they'll get them for me, and things like that. Not in my early career, but now. The trick is, in the UK, we use the same cover artist for everything and this is the big difference between the UK market and the US market. The US publisher likes to change with each series to a new cover artist, to say "look, it's a new series". For the UK, they distinguish a new series by the color scheme, so you'll notice all the Mistborn books have a blue swirl, whereas all of the Way of Kings have a red, or orange-ish tinge to them and, you know, Elantris has the green and things like that. That's how they do that. They like that all of your books look the same on the shelf.
UK also likes--how can I put it--classier covers *laughter* and that leads to, in some ways, some covers that I think are fantastic and some that are just a little generic, because they try to go kind of classy, if that makes sense, and so you just end up with not much on the cover. The US covers vary a lot more. I've had my worst covers of, you know, among US covers, and I've had my best covers because the US likes to do this painting of some sort of scene represented, almost more of a movie poster for the book, so some of those get really cringe-worthy. They just get--Like my middle-grade series, the Alcatraz books, oh those covers in the US were dreadful. In the UK they were very stylish and with like some iconic picture on them, but in the US they were, oh, so bad. But The Way of Kings, the painting, the US painting's one of my favorite covers I've ever had and I actually went and bought that painting itself, but I have a soft spot for Michael Whelan, he's the artist of that.
How much of your own personality do you put into your characters?
Good question. I put a piece of me in every character. There's some aspect of me in every one of them and there is something very different from me in every one of them, because that's kind of how I explore the world, I write about characters that have something familiar but something very different for me, and every character I write I try to the bulk of those things into.
In the second Stormlight Archive book... Wit... the Shattered Plains party, where he's introducing all the guests, and just the sheer list of insults. Was that an easy thing to do, and you've got books and books of--
Man it is so hard to come up with good insults because it's so hard to use one that Winston Churchill hasn't used already. *laughter* But I try to channel the best insult comics and people like that. Being witty in writing is actually the hardest part, but the fortunate thing is that I can take two hours to come up with a line that he's supposed to snap off in a few minutes or a few seconds, and that's how we can imitate being smarter than we are. I totally have to do that in my books.
It's interesting, I got an insight into really smart people. I was roommates with a person who won a ton of money on Jeopardy. Ken Jennings for any of you guys that watch Jeopardy. He won like 80 times in a row, right? I'm serious. He won 80 times in a row, or something like 78-- and before he did that, he was my roommate, and I knew him, and he-- the big difference between him and other people is that speed, that speed of making the connection and snapping it off. You say something and he comes with a comeback, just like that, and then you think about it and you're like "oh, that was really clever". That's what a lot of these people are, it's not the only type of intelligence by far, but it's one of the ones that this sort of discussion with Wit-- it's what we look for. So it's kind of a marker for somebody that's a little bit too smart for their own good.
Except for in the prelude, does Kalak appear somewhere in the books? (A bit RAFO, but is he the shorter Alethi-looking man who accompanied Nale in WoK/WoR prologue?)
RAFO.
