Recent entries

Questioner

Is there an update to the combined volume of White Sand?

Isaac Stewart

This has been a hectic year. We've had a lot of things going on. I've had to prioritize things like the Kickstarter and the manufacturing of all of the goodies for that. In addition, I've had Rhythm of War and all of the art and art direction that comes along with that. It's just been a really big year. As things are tying up (as far as my involvement on the manufacturing side of things, we're getting close to having everything approved and in process there), I will be able to spend more time on the omnibus.

In the background, though, I have kept the letterers working and the artist working as much as I could, and I think all of the minor fixes... a lot of people know, there were electric lamps. And I hired my brother (who is also an artist), and he, in the latter half of those, erased a lot of those. There was a modern IV in one scene that we needed to erase. But I think that changes to the art, small things like that, are pretty much almost done.

There are a few other things that need some attention, and I'll be able to turn my brain to that here soon.

Brandon Sanderson

You're adding some pages and things, right?

Isaac Stewart

Yeah, there will be 38 more pages and a prologue to introduce characters a little bit more. Those are almost completely done. The writing on those is done.

There are some pages that are more world-building that are written by Khriss, and I have to find out where we have room for those so I know how many of those that we have, and then write out some of the worldbuilding. And that's what I'm in the process of doing right now. Getting really close to being done with that.

So that's where we're at on that. And as soon as that's done, we will discuss that with Brandon's agent and with the publisher and figure out where to go from there.

Brandon Sanderson

Right now I'm writing Skyward 3, which I'm calling "Nowhere." Which I know the publisher is not terribly fond of, and I'm only so-so on it, so it might change before we go to press; we'll have to see.

Brandon Sanderson

I originally had planned Starsight to be something that had "Fort" in the title, or "Fortress" in the title. "Star Fortress," or something like that. And the publisher came back and said, "That sounds too fantasy-ish. And it's science fiction." And they just didn't like the sound and feel, and so I came back with Starsight, and they liked that, and I liked that, so we just went with it.

Bob

I am wondering if it is possible for a person to take the power of a Shard and then later decide the whole god thing isn't working out. Can they retire and go back to being a person? Or are they immediately sent to the Beyond?

Brandon Sanderson

It is possible that they could retire as a person. Wouldn't be the first thing that would happen.

Brandon Sanderson

With Dawnshard, what was going on [with revisions], there was some big things that I needed to do, and some of them I was aware of. And because the book... basically, it was written in July, and we did the beta read in August, and I'm doing the revisions in September/October; it has a really accelerated timeline. Which means that the beta read wasn't as clean as I normally like a beta read to do. I really like a beta read to have seen a book after I've done revisions that the alpha read has caught all the big problems. Or that I've had time to layer things in. Like, there is a whole aspect of this book that I knew needed to be in the book, but I just didn't have the time, the brain focus, in the first two drafts to put in. So they all had to read and complain about this thing that I knew I was going to put into the book, but they thought I'd just completely missed. In that case, I had this thing to add in; but, still, giving their feedback helped me decide how to add it in. In other cases, there were characters that just needed some expanded screentime and stuff. I can talk about it better during the spoiler stream.

But also, I had multiple people who are themselves paraplegic read the book that I had written primarily from the viewpoint of a paraplegic woman. And they had just a ton of really great information on how to be more authentic to the life experience of someone like themselves, and also some of the pitfalls that authors often fall into that I hadn't known about. Really handy stuff.

And we will be releasing, with the Kickstarter (because we hit the stretch goal), all the different drafts of Dawnshard, along with the beta reader document, that you'll be able to just read what everyone said and see what I took from that. You can go read, like, the 3.0 and be like, "All right, I read the 2.0; I read the beta read document. Now I can read the 3.0 and see how Brandon changed things based on what the beta readers said."

And I do have a little document of the main things I'm changing and why that will go along with it. Hopefully, that sort of thing will be very helpful to you because this is the sort of thing that's really hard to explain because it's an instinct you pick up as a writer over time.

Isaac Stewart

As Brandon has mentioned, we have some scenes from The Lopen viewpoint [in Dawnshard], and I'm going to show you The Lopen chapter icon.

I don't know if this will wind up in the actual main books, but if we have a Lopen chapter, we might.

Brandon Sanderson

So far, for Lopen, we've been using the generic Bridge Four icon, because usually what's happening is I have a whole section where we get a bunch of different Bridge Four viewpoints, and it makes more sense. But we needed one for The Lopen.

Questioner

Will you ever consider writing someone with dyslexia into your books?

Brandon Sanderson

I would, in fact. Haven't found the right place for it. My son is dyslexic, and he has a big challenge with school. Dallin is just smart as a whip, but has real trouble with school, because he is very dyslexic. He just loves it when he finds out... like, Dav Pilkey, who does the Dog Man books, is dyslexic. When he finds an author who's dyslexic, it means a lot to him.

And finding a way to get dyslexia in... I would probably want to do it in a book with a word-based magic system. Because that would be an interesting thing, because having someone who's dyslexic who interacts with words differently than everyone else would be a really fascinating story when there's a conflict related to the actual worldbuilding.

But we'll see; we'll see if I can ever find time to do that. There's a lot of things to do. And dyslexia is one of those harder things to get across in fiction, because people aren't spending a lot of time reading in most books. So it is a character attribute, but it's not the sort of thing that comes up in the story all that often unless you construct the story in a way that it will.

Questioner

Will we see more of Vasher and Vivenna in a certain upcoming book?

Brandon Sanderson

Yes, you will see at least one of them in a book coming out this November. You'll at least have a reference to the other. You may see one of them in two chapters as Tor is releasing them.

Brandon Sanderson

Dawnshard is about Rysn. But there's a small plot arc for multiple other characters. Lopen's got one. Even Huio's got one. Because I'm a novel writer, and even when I write in shorter form, I'm doing novel writer sort of things.

Brandon Sanderson

It is hard for me to keep in mind more than one big change for a book [while revising]. I can do it, but it's hard; it's a challenge. And fortunately, the way I write books is, generally I only have one big change per plot cycle or per viewpoint. Like, I can say, "For this viewpoint character, my big focus change for this is changing this part of who they are. This character needs to be more proactive." That's one of the ones that I had for the new Stormlight book, is there was a character that just wasn't proactive enough. And I'm like, "I need to change the way that they're viewing their life, and add a few scenes in appropriate places that up the character's proactivity."

That was separate from a different character, where I had approached some of the mental health things the wrong way, and early beta readers were able to point me the right direction on how to do it better. And that character, I didn't change structurally their plot; I changed their response to it, and then a few places where that response did require some major changes. But I could have them on mind: this revision, I'm doing this for this character.

And I had, like, three of those in my 4.0 draft. And for all the other characters, I could say, "In this, we are just focusing on tightening-normal-prose sort of cleaning." And that way, when I went to the 5.0, if there were things for those other characters, I could feel that I had already done the prose tightening for them, and I could get into some more of the problems they needed, and I was able to keep the big changes in my head for the other characters. And then, in the last draft, I was able to do the prose tightening on their viewpoints. And that worked really well for this specific book.

Questioner

Is there going to be a physical release planned for The Original at some point in the future? Or is it going to be audio-only?

Brandon Sanderson

I would anticipate that we would, eventually, do this. It was written for audio. I know we've just kind of briefly said "yeah, probably." But it's not like we've made any plans. It's not like we have a release in mind.

Mary Robinette Kowal

The conversations that we've had are basically, like, "Yeah, that would be awesome if someone wanted it." And also, I'm like, "And there needs to be some rewriting." There are scenes where we're relying on the narrator, and it won't play on the page.

Brandon Sanderson

So the answer is "Yes, probably." But we can't say when. And we have no specific plans yet.

Brandon Sanderson

Getting those subject matter experts... like, the new Stormlight book. If I hadn't had some of these subject matter experts, I would have been at sea with no oars.

Someday, perhaps, for fans, I will release the first draft, and they can compare. But it's now so embarrassing, about which things I got wrong.

Brandon Sanderson

I did a [film] treatment for Mistborn, recently, where I'm like, "How would I envision this getting made?" And I basically had to throw out the book, start with the same premise, characters, and idea, and build it again for the medium, rather than try to pick specific scenes. Because specific scenes that I wrote in the book are there to work on the page. I needed a scene that did the same thing, but wasn't all internal. (Not really internal, but the character responding in their head.) And it needed to work differently. I have a lot more respect for adaptations.

Brandon Sanderson

I can't talk about details, but I wrote a picture book. 127 words!

Mary Robinette Kowal

How long is the outline?

Brandon Sanderson

The outline is really long. But that's because... the reason I was able to be so short is because the joke of the picture book is that the description that goes with the picture is comically simplistic. And then the picture, I spend, like, a page describing each one. So the actual text is 127 words. But the pitch is, like, 3000 words, or something like that. It's just ridiculously long.

The reason I did it is because one of the things that we want to do eventually is, each of the Stormlight books has... there's a character in the books named Wit who's a storyteller who will tell stories to the other characters. And I would eventually like to do those as picture books. I think they would adapt really well. But wanting to do that and not knowing the form, I'm like, "I really ought to learn the form before I expect to do something like that." So I'm like, "I'm going to go research picture books. I'm gonna look at the lengths, and read all the stuff I'm doing, and then try my hand at it and see if a publisher is interested in just a standard, not-based-on-the-Stormlight-books." And then, if I'm lucky and it sells (which there's no guarantee), then I'll be able to watch the process, as I like to do as something is getting made. And hopefully learn more about it, and things like that. So that's why I did.

Green Fire (paraphrased)

If Hoid would be printed as an MtG card, what would be his color and converted mana cost?

Brandon Sanderson (paraphrased)

Brandon said he would be a "Straight Blue Planswalker" and "expensive" "probably 7 to 9 mana 4-6 colorless UUU"

Brandon Sanderson

Chapter Sixteen

Seems like a good place to talk about my philosophy on how I choose viewpoint characters for these books. I've been getting DMs saying, "Why no Dalinar viewpoints?" or "Why no Adolin viewpoints?" And I can understand frustration there.

When I started this series, however, I dug into the multi-book epic fantasy stories I'd enjoyed in the past, as well as the more popular examples, and tried to really nail down the pitfalls of the format. A main one felt, to me, to be character sprawl. These series tend to end up with so many interesting characters that the author, in turn, ends up having entire sequences (and even books) that don't move the storyline forward, but instead investigate new storylines.

While I do appreciate some of that, I wanted to do what I could to mitigate that. Which meant limiting my viewpoints, even among main characters. This helps prevent sprawl, at least for me, because when I'm in someone's head, I naturally begin working on subplots and character arcs for them. In this case, I needed to keep my focus, and limit myself. To not try to do full sequences for every character in every part of every book. While I know some of you would have enjoyed that, I would really rather finish this series before I am a hundred--and feel that the books need to be as focused as is reasonable for their length.

That's why when I outline, I look at all the characters that COULD have a viewpoint in a given section--then narrow my scope to a few of them. Dalinar most certainly could have had viewpoints in Part One of this book, but I decided it was Navani's perspective that made the most sense for this story. So, while you get to see a healthy dose of Dalinar, we don't have his viewpoints.

Those will come later in the book, in a part where it makes sense to have his perspective on things. I need to look for the characters that are adding the most to a given sequence--that usually means the ones who are changing the most, learning the most, or who have the most tension in their sequence. I do feel bad for this somewhat cutthroat use of viewpoints at times, but I believe it is the right decision--it's either this, or watch the series balloon to many more books while at the same time slowing the narrative down to the point that books pass, and you wonder what was actually accomplished in them.

Only three more chapters left in these previews before you get the entire book! (Also, apologies for those who found this annotation repetitive from things I've said before. It is difficult to judge, sometimes, what is new information to the majority of readers and what is becoming well-worn, so to speak.)

Brandon Sanderson

Chapter Fifteen

I've been waiting for you guys to read this one, as it has some of my favorite moments in the first part. From the conversation with Rlain, and me finally being able to talk about some of the mechanics that let the Listeners survive on the Shattered Plains, to--of course--being able to write a fight using Awakening for the first time in a while. I also enjoy writing about Kaladin through the eye of someone like Zahel, as it gives me some interesting opportunities.

Obviously, I'm pushing (again) the boundaries of what a reader can be expected to remember/know about the cosmere to enjoy these books.

It's my opinion that thinking "Zahel can do weird, mysterious stuff I don't understand" is all right for those readers who don't have a larger cosmere experience. In fact, I'm confident that even if Warbreaker hadn't been released, I'd be writing scenes like this in the same way. It's a common trope in fantasy for the powerful figure, like Gandalf, to do things that seem outside the rules everyone else has to follow. One thing I like about having the cosmere to play with as a creator is that it lets me do scenes like this, which both are mysterious but also fully explained by the greater magic system, if you want to dig into it.

I will say that Zahel is making an informed guess about Szeth in this chapter. He doesn't know 100%.

This is your last relatively cosmere-aware chapter for the previews, I'm afraid. There are a few more similar to this much later in the book.

Brandon Sanderson

Chapter Fourteen

One of the themes of some of my unpublished books was the nature of immortality. I've always been fascinated by the idea, and some of its implications. I think about how shadowy in my mind events of some ten years ago are, and I wonder what would happen if we lived centuries, instead of decades, in lifespan. How would we adapt? How would our physical apparatus (like our brains) adapt to something like that? Like a car built to drive 200,000 miles instead being kept going for many times that.

As an aside, one of the more fun stories I've read dealing with this idea is the excellent 17776, which you really have to experience, since it defies explanation.

I enjoyed writing this chapter, and many in this book, as the series is finally in a place where I can start delving into the personalities and attitudes of the fused. I can't say a whole lot more about that yet, but suffice it to say that I'm excited for you to get the whole book.

Brandon Sanderson

Chapter Thirteen

Most of you probably know that it has been important to me to keep the cosmere behind-the-scenes for most of the book series. I don't want a person to have to track all the different books in order to enjoy the one they're currently reading.

The large-scale plan for the books, however, has them slowly converging toward certain events in the future. Less "cross-overs" and more that the nature of what I'm creating is about different worlds who share a background, history, and (eventually) future.

So we're slowly moving out of what I'd call the "each series separate" era of the cosmere and into the "careful mixing" era. The goal for these books will be to still make it that you don't feel you need to remember everything, or need to follow everything. I hope to be able to walk this particular tightrope in such a way that someone who has never read any of the other cosmere books doesn't feel left out--but rather, that there are mysterious and interesting things happening, but the core stories still make sense. However, if I want to lay the groundwork for what I eventually want to do, it will require more bleed-over than I've allowed in the past.

This chapter is one of those that illustrates this new philosophy on my part--the "let them mix, but try to do it in a way that doesn't undermine the integrity of the series" philosophy. We'll see how well I manage it. FYI, Chapter Fifteen goes even a little further in this area than this chapter did. (Though don't expect full-blown cross-contamination between the series until the space age Cosmere era, which is still a ways off.)

Brandon Sanderson

Chapter Twelve

This is the last we'll see of Rock in the book, I'm afraid. I really hope to be able to do the Rock novella sometime in the next few years to trace his course, but one of the things I forced myself to do in this series is keep the focus on the main storylines and characters.

Epic fantasy tends to involve ballooning casts, and this tends to derail books as the author lets their focus move away from the primary storyline toward side characters. I put some rigid requirements on myself when I started Stormlight that require me to move side stories out of the main narrative. It's odd to be talking about trying to keep books this length "lean" but I believe one of the strengths of the series is that it has (so far) kept its eye on the proverbial goal. This is more important than ever, with book five being the end of the first sequence.

That said, what we're witnessing here is kind of the end of Bridge Four as a cohesive entity, at least as it existed in the series up until now. I was sad, for all the fun of this chapter, to be moving into this sequence of the stories. There was a temptation, of course, to just let Bridge Four continue to be Bridge Four--but it wouldn't feel right. Lives change and evolve. My tight-knit friend group from college can never be the same again, not now that we all have families and jobs. Bridge Four couldn't remain the same either.

One of my problems with some forms of media like extended network television shows is the format's inability to let the status of the characters evolve, change, and grow. For a series like this, we need progression, and we need to let Bridge Four become something else. If we're sad about the changes, the early books will always be there to experience again.

As for the Kaladn/Adolin/Shallan interactions, I actively look for moments like these to put into the novels. It's important to let the characters live, and one of the reasons I enjoy epic fantasy is that it (with the space afforded me) allows for more time like this.

Brandon Sanderson

Chapter Eleven

Dropped the ball a little on my annotation this week. Was busy yesterday writing a picture book. (Yes, I know. Look, I needed a break to do something different, all right? I'll let you all know if anything ever happens with it.)

Anyway, on to Venli! As I said last week, this is kind of the true "Chapter One" to Rhythm of War. The Venli chapters in this book are second only to the Shallan chapters in the number and extent of the revisions I ended up doing. There was a fine balance to walk with her in a lot of ways, as will become more evident as the book progresses.

One of those, however, is this: Venli doesn't see herself as a hero, nor is she interested in being one. Emotionally, she's not really about saying ideals. She feels she's the wrong person for whatever it is that has started to happen to her.

This means there's a different tone between her and the other characters. What she mostly wants is to find a way to escape the powder keg she's gotten herself into, and while she DOES want to make amends for things she's done, I wanted her to feel more "normal person trapped in a strange situation" in many ways than someone like Kaladin.

The fine line to walk here is that I didn't want her to come off petulant, or be too annoying. But I also didn't want her to come off as a gung-ho "let's be heroes" type. That's a delicate balance, because there's a danger because it's very easy for readers to resent her for not being as "on board" with the story as the other characters.

It was worth the risk, and the likelihood that some people will just plain not like her viewpoints, for me because I feel it adds variety of perspectives to the story. It's good to have someone who feels trapped, in over their head. Someone who doesn't know the "right" thing to do, and is a little less proactive as a result. I like how authentic her viewpoints feel because of that.

Brandon Sanderson

Chapter Ten

And here we finally reach the culmination of a plot cycle I've been working on for four books now, but really kicked into overdrive in Oathbringer.

I knew pretty early into the creation of the "new" Kaladin (as opposed to Merin, from Prime) that I was going to have to deal with the fact that he'd been put through hell--and that sort of thing leaves scars on a person. Just like I eventually realized I needed to step up and do my research to properly treat Shallan's arc, I decided early on I'd need to be responsible with how I treated what Kaladin had been through.

Mental health has become a theme in the Stormlight Archive, but I've often noted that it isn't that I set out to write specifically about that topic. More, I feel that the extreme circumstances I'm putting characters into naturally lead to these kinds of conflicts. If I'm going to follow through with what the characters are experiencing, it means talking about these ideas.

This chapter is the unmarked "end" of what I imagined being the cold open lead-in to the novel. (The kind of "climax to a book between the two novels you didn't see" that I've been talking about in these annotations.) With the next chapter, we'll go to a character we haven't seen yet this book, and begin into the core plot of the novel.

Brandon Sanderson

Chapter Nine

So, I might have mentioned this before, but one of the oldest (and eventually discarded) scenes I had for this book was Kaladin returning home. It's existed in some form since I was first developing Dragonsteel in my late teens. It eventually happened last book, but I gave Kaladin the chance to ruminate on it in this book.

The very first version was from Dragonsteel--and was supposed to begin the second book, which I never wrote. In that story, most everyone was around a bronze age level of technology, but one kingdom (led by a mysterious figure who knew far too much) was rapidly progressing his people technologically. So the protagonist, after joining his army and fighting on the Shattered Plains with Bridge Four, eventually was to return home in full plate armor to confront the version of Roshone who ruled there.

Like I said, that never happened. But I eventually took many of those ideas and wrote The Way of Kings Prime. Though Bridge Four didn't make the jump yet, Dalinar did--and so did the idea of the young peasant boy forced into war. The second book of THAT was to begin with Merin, returning home from war, to find something very strange at home--which eventually turned out to be related to that book's version of the Voidbringers. (And Merin's nacent windrunner abilities would let him kill one. He would haul the head back to Dalinar as proof that something was up.)

That book never got written either. I finally got to put the scene in, mostly, in Oathbringer. But, like most of the revisions to the story over the years, it became a little less triumphant and a little more messy. (Intentionally messy, to more accurately depict how events in life are often full of contrasting emotions.)

It was interesting for me to reflect on those 25+ years of imagining one scene, evolving over the years, as I put a kind of capstone on it in this book.

Brandon Sanderson

Chapter Eight

Annotation for this chapter: Moash was one of the characters that was most difficult to get right for this book. There's a difficult balance to maintain with him, compounded by how difficult a line I'm walking with Kaladin in these chapters. I had to do several tone rewrites of this chapter after the Alpha read, to make it all work.

Part of the trick was to convey just how exhausted Kaladin is, mentally while in his viewpoint--since he doesn't accept it himself. Then mix that with a Moash who, in part, does still want to be a good friend--but no longer is capable of reasoning in a conventional way. (And who won't acknowledge to himself that being right, proving that he made the right decisions, is actually far more important to him than his friendships ever were.)

You'll get a Moash viewpoint in a future interlude, which should help explain where his mindset is these days. As for Kaladin, well, it's becoming more and more difficult for him to maintain the lie that everything is fine.

Brandon Sanderson

Chapter Seven

Annotation time! So, one of the things I worry about (maybe too much) in an extended series like this is something I'll call Skelletor Syndrome. This is the problem that the protagonists need victories through the course of the series--the text will naturally build to important moments, and while there will be failures, there will also be victories.

The more times an antagonist gets defeated, however, the less of a threat they become in the reader's mind. It's hard to justify to the reader that a villain is still a credible threat after they've been foiled time and time again. (Kylo Ren ran into this problem, for example, in the new Star Wars series.)

Going into the Stormlight Archive, this is why I staggered the threats moving from non-supernatural antagonists (like Sadeas) toward increasingly dangerous threats. This isn't to say that someone like Ialai couldn't be a credible threat without powers. However, I still felt it best to move on from her as a representation of the antagonists in the earlier part of the series, pointing us toward larger (and more cosmere-aware) threats as the conflict of the books expands. I could easily have had an entire book with a major thread about toppling her little empire on the Shattered Plains, but that would have been too backward looking.

So in this book, we're pointing away from the Sadeas/Amaram team toward Odium, some individual fused, and several of the cosmere-aware players (Thaidakar and Restares.) Don't worry if those names aren't clear to you on first read--they've been around for a while, but I haven't delved too much into who they are. This book will do so.

Brandon Sanderson

Chapter Six

So, this little sequence with Kaladin, the lurgs, and tricking Leshwi was one I was VERY close to cutting from the book. Thing is, this battle between them has been going on pretty long at this point, and my gut says I've done a little too much of "Kaladin chases and fights someone through the air" in these chapters.

I looked long and hard, therefore, at trimming this sequence for pacing reasons. In the end, I left it, and I don't know 100% if it was the right choice or not. I like how it gives a different kind of interaction for Kaladin on the battlefield here, and how it hearkens back to the flashback from book one with Tien.

I opted, instead, to trim more extensively through the whole combat--taking out words and sentences, rather than this entire scene. But it was a tough call. And even in the very last revision, I went back and forth on it. If I'd been forced to trim something here to make a film come in at the right time, this part would have gone--but one of the luxuries of writing epic fantasy in novel form is that I can be a little more self-indulgent. (So long as I don't let myself go too far.)

Brandon Sanderson

Chapters Four and Five

Here's an annotation for these chapters! One of the most revised sequences of this book were these Shallan chapters--continuing through the entire novel. As I have said elsewhere, I originally designed Shallan's mental state to be a more fantastical look at something like Dissociative Identity Disorder. (Like the fantastical look at Schizophrenia I did with Stephen Leeds.)

I was fascinated by how something like mental health challenges relating to identity would intersect with magic that let you quite literally become someone else. The original version of this was for a character I wrote in Dragonsteel--which I'll eventually release to the public like I've done with TWOK Prime.

In this series, however, I've found myself leaning away from the fantastical elements more and more, and trying to lean into the real science and best mental health practices. This is because I've realized that having Shallan's ailment be completely fantastical was both irresponsible (in representation terms) and less realistic. Where I settled earlier in the series was in representing not someone with a fantastical disease, but someone with a very real disease--that is exacerbated by fantastical elements.

Because of this, I listened very hard to my beta readers on Shallan, particularly those with specific experience in this area. In the original draft of these scenes, for example, Shallan wasn't shifting between the various alters of herself nearly as often--and with some feedback, I tweaked that, and found it not only worked better in a realism way, but it also read far, far better. It's simply more interesting to see Shallan's different aspects doing different things, thinking different ways.

Some of the most satisfying moments in revisions come when you try something different, and find that it's what you wanted to do all along--but didn't quite know how to accomplish until a comment nudges you.

Brandon Sanderson

Chapters One to Three

So, for a little commentary on these chapters, you might find it interesting that I plotted this opening sequence as if it were a climax section of a book. In the Stormlight novels, I generally limit myself to one viewpoint a chapter. This is to give a stronger identity to the chapters and characters--we usually get big chunks from a person's viewpoint (with chapters that average two or three times as long as chapters from something like Wax and Wayne or Skyward.) This gives each chapter a kind of short-story feel with their own arcs and themes.

However, as I approach climactic sections of books, I bleed the viewpoints across one another, adding to the frantic feel of a building crescendo. Viewpoints alternate in quick succession, with bite-sized chunks, hooks and payoffs, like one might plot closer to what you'd see in a thriller novel. The goal here is to evoke quick scene changes, lots of twists and turns, and a general sense that viewpoints are piling up on top of one another to enhance the feeling of an impending climax.

In a normal stormlight book, I generally start slow and build to such a climax near the end of part one. (Though I usually don't start the full viewpoint bleeds until the end of the book.) Here, I wanted to give the feeling that the year that passed had its own narrative arc, and some of those threads were culminating here. So we're beginning the book at the end of the "previous book" (imagining the in-between year as a "book."

That led to some confusion and consternation among alpha and beta readers, since this isn't how a Stormlight book generally begins--but in this case, I decided I was all right with that feeling, as this truly was the tone I wanted starting out.

Questioner

Are there any mythologies that you have hoped to incorporate into the cosmere in some form, like Celtic, Norse, Egyptian, or Chinese?

Brandon Sanderson

No, that's not really how I look at it. I don't generally say "I'm going to be inspired by this mythology." I know a lot of writers do, and that's fine. I tend to look and say, "This part of this mythology is really interesting. It says something about this culture." The Norse mythology that they are going to lose; Ragnarok is going to happen. That is fascinating. The idea that Greek and Roman mythologies had these different names for what were essentially the same gods that, over time, became more and more like one another is a really cool idea. I like that aspect of it.

But even when I wrote the spren, which have some roots in Shinto and some Asian mythologies, it's not like I'm sitting down and saying, "I'm gonna use this." What I'm saying is, "What fascinates me." The idea that everything has a soul fascinates me. The idea from Plato that there are multiple realms of existence. These things mix together. And certainly there are other seeds like that that I will incorporate. But I don't sit down and say, "This is the time to do this."

Once in a while, I'll use a culture like that and say, "I'm gonna use the linguistics of this culture and kind of base some things on this culture because it is interesting to me." You've seen me do that with the Horneaters. But mythologies, not as much.

Questioner

As a medical student who is currently in my musculoskeletal class, how different is the internal anatomy of the "humans" of the worlds of the cosmere? Like structure and number of muscles, bones, organs, things like that.

Brandon Sanderson

In general, you wouldn't have a problem. There would be minor differences. Like, there's gonna be some slight anatomy differences for, like, Scadrians, who were changed to deal with the ash and stuff. You'd be like, "Wow, the lungs are different here." And Roshar is a lower-gravity, higher-oxygen environment, and you're gonna find longer bones, you're gonna find stuff like that on Roshar. But, in general, you would be like, "This is a human whose species is slightly evolved for a different environment." Rather than "this is not human at all."

Now, if you were to ask about an Aimian, either variety, they would be very, very, very different. You would be like Bones trying to operate on Spock. The Sleepless, you'd need a very different degree for dealing with them. I'm very excited to eventually get the Sleepless fully into the stories. They're from my second novel, Star's End, is the very first appearance of them. And they got ported over to the cosmere once I designed the cosmere. And are a really cool, in my mind, science fiction race that are not a hivemind, but an individual is made up of a group of large insects that share Cognitive load across all of them, and there's just so many fun things you can do with that. Because they can selectively breed parts of their own body to do different things and have, like, fifty generations of this group of insect that they are selectively breeding to do this specific thing, and stuff like that. Hasn't been a lot of space for them in the cosmere, yet. Just some brief appearances. They'll be very important during the space age.

Brandon Sanderson

One of the reasons I've not been firm on what the names of the sixteen Shards are is because I want that flexibility to be able to say "no, this is what the cosmere needs, is a persona like this to have a Shard, and the Shard doing this." By the time Rhythm of War comes out, I think we will have canonized all sixteen or very close to all sixteen. But I wanted to take my time doing that.

Brandon Sanderson

I am likely done writing Legion novellas. I still hold out hope for a television show; we have the rights to that sold. And there's a decent chance we'll do some audio originals that I'll do with a co-author on those. So if you really like Steven Leeds, I've always imagined Legion as a television show pitch. That is from the very first novella, I am writing in-depth episodes (kind of like the Sherlock episodes of the BBC Sherlock), standalone episodes that build on each other was my pitch to myself.

Questioner

Where does Dawnshard fit, time-frame wise?

Brandon Sanderson

Three months after Oathbringer, which puts it in Rosharan terms seven months-ish before Rhythm of War. (Ten-month years.)

Isaac Stewart

But we should probably mention that you don't have to read this one to read Rhythm of War.

Brandon Sanderson

You do not. I have written Rhythm of War in such a way that, if you haven't read this, you will not really be confused. There will be a few things where you're like, "Oh, that's probably what that's referencing." And if you read this after, it's not going to ruin either story.

I did something very specific with the Rysn interlude in Rhythm of War that allows us to preserve most of what happened in Dawnshard, so far, so that you will not have it spoiled when you get to that interlude. I've done something very different for that interlude, let's just say. And I did that because I hadn't written Dawnshard yet, when I wrote the Rysn interlude. In fact, it's the last thing I wrote for the book, was that interlude. And let's just say that interlude is from a different viewpoint. We'll just say that.

And references to what happened are in the story, but they're mostly kind of vague, because even most of the people in the main storyline don't know the specifics of what happened in the novella. It's kind of like what happened in Edgedancer, where what happened to Lift is not really generally understood and known by everyone else, because she was off on her own.

It is done. First draft is finished. It is The Lopen and Rysn.

Questioner

What are two cosmere characters that have never met (and maybe never will) that you would be most excited to write a scene involving?

Brandon Sanderson

It is Lift and Wayne. Preferably after Lift is of age, and they can go drinking together. But even before, I think, they would make a very interesting pairing.

Questioner

Alloy of Law leatherbounds? Have you made any decisions?

Isaac Stewart

Alloy of Law and Shadows of Self will come together. They will be separate leatherbound books, but they will be packaged together, not in a slip case. They will probably be, together, around $150 as a package.

We're gonna try to keep elements of the design from the Mistborn books, so that they look good in a line, but have something that is a little bit different about them.

Because of our contracts, we will not sell them separately.

Brandon Sanderson

As Elantris was getting published, I sat down and did an outline for the Mistborn trilogy (which I expanded to nine books in the middle of that outline" and said, "What if I made this backbone series to the cosmere?" (As I was then kind of officially calling it in my head.) I went to my editor, I pitched it; I talked about Adonalsium, this god who was Shattered long ago, and sixteen individuals took up pieces of that god, the Intents of the god. Like that god's Honor, or that god's sense of entropy (which was called Ruin) or things like this, and then went out into the cosmere and were kind of ruling over these planets, or involved in these planets, or sometimes just lightly touching these planets. The sixteen Shards of Adonalsium, as we call them.

Mattew

Has knowing that Tor releases the first big chunk of your books when they're coming out change the way you write? For example, more cliffhangers, things like that?

Brandon Sanderson

Nope, it hasn't. Good question. But I am the one who picks what Tor releases. They would not be releasing nearly as much if it weren't my choice, if I hadn't suggested it and strongly encouraged it. It doesn't change how I write the chapters. That's not really a factor in it for me.

I am having a lot of fun writing a little annotation for every time Tor does a release on Tuesdays. I go on Reddit on the thread and write a little annotation about the chapter (or chapters).

Jake

Do you see yourself ever releasing any more Sanderson Curiosities? And if so, when?

Brandon Sanderson

Response to Way of Kings Prime was strong enough that I would at least like to release, in hardcover form, the good ones. The good books from the Sandersons Curiosities are: White Sand, Aether of Night, and Dragonsteel. They are all of an equivalent quality, I would say; as in being slightly worse than Elantris. Maybe significantly worse, but has similar problems. They're all good enough books that I don't think you waste your time reading them. They are just not good enough books that I would want to mass release them. They are, I think, great books to read as somebody who is like, "This is one of Brandon's early books that could have gotten published, good enough to get published, but didn't quite make it there." And I think people can have a lot of fun with those.

So I would imagine that we do one of these per Stormlight Kickstarter. Because we will probably continue to do... the Stormlight Archive books are just a big enough thing and require a big enough gear-up and enough funds that we'll probably continue to do one of those every three years. We will continue to do other leatherbounds, not as Kickstarters. They have smaller print runs, and we probably will continue to do all of those in bonded leather, and then do the Stormlight books in Kickstarters. And we will probably have a new Curiosity each time. So I would expect us to have White Sand, Dragonsteel, and Aether of Night curiosities in the next three of these Kickstarters.

And then we'll take a long, hard look at what we have left. Because after that, we go down another jump in quality. We have Mistborn Prime and Final Empire Prime, which are probably the next two in quality. Where they aren't bad books, and I think they're readable, but they're a little step further away from what ended up being my vision. But I think that White Sand, Dragonsteel, and Aether of Night are probably a little bit stronger of novels than Way of Kings Prime. So maybe Final Empire Prime and Mistborn Prime are both kind of equivalent to that.

Then, after that, we have another big dip in quality, and then you get things like Star's End, which was my second novel. You get things like Knight Life, which was my attempt at a comedic, sort of Bob Asprin adventure-style comedy. (Mostly cringe, with a little bit of actual comedy.) And the book I called The Sixth Incarnation of Pandora, which is a cyberpunk look at immortality, where people have been turned into superweapons with nanites and stuff like that, and I have no idea how that book measures up anymore. It's the book I wrote right before Elantris. But those ones, I could even see releasing those.

Then, we have a huge dip in quality for White Sand Prime and Lord Mastrell Prime, which are the first versions, the first books I wrote, and are really bad. And Mythwalker, which is the one I didn't finish because it just wasn't any good. And those are the other Sanderson Curiosities. I would not expect us to ever release those. Those are just bad enough that they aren't worth charging you for. Whereas a lot of these books are things I was experimenting with and exploring with and getting better at, they're my journeyman works, the first version (White Sand Prime and Lord Mastrell) are the equivalent of the stuff you do as a filmmaker in high school with your parents' camera, your parents' phone, where you make your own Indiana Jones movie with your parents' phone when you're sixteen. That's the equivalent of what you would be getting, and I just don't know if I can charge people for that. Maybe we'll put 'em up free on my website, and if people really wanna complete the collection, they can complete them and have them bound themselves.

Questioner

How much artistic license did Michael [Whelan] have when designing the cover [of Rhythm of War] and what your process is when working with him to get the cover vision that you're going for?

Brandon Sanderson

Our preference is to give artists a lot of leeway for personal interpretation. I, personally, believe any piece of fan-art or official art is that artist's vision of what they saw in their head when they were reading the book. And that's going to differ greatly from what someone else would see, and I like seeing those interpretations. I like seeing those visions. So we try to give quite a bit of leeway and flexibility to the artist.

For instance, Michael (being the consummate professional he is) sent, like, ten sketches of possibilities. And we had ones we liked the most, and fortunately they were the same ones that he liked the most. But mostly, we say, "These are all great. Which one do you enjoy? Which one are you most excited to paint?" And we move that direction most of the time. Isaac will usually have continuity comments, and we want to make sure that things are in continuity, but we give a lot of freedom to the artists. We don't really want to chain them down. We want art to inspire art.

And so, because of that, people look different in some of our official interpretations. And I think that's okay, because that's how artwork goes. We're not trying to match a really exacting style guide on the characters, usually. And that lets us have the cover art for the UK cover look very different from the covert art form the US cover, and even have different interpretations on the characters in different ways. We'll catch the big things. We'll say "put a glove on her" if there's a scandalous hand exposed. We'll say "this is what the patch looks like that should be on Kaladin's shoulder." Stuff like that, we will do, but we try to give a lot of freedom.

I really like this cover. This is my favorite of his covers since the first one.

Reflex Jack

How are you feeling about Dawnshard?

Brandon Sanderson

Dawnshard is just a lot of fun to write. How am I feeling about it? The structure's a little odd, so I'm not sure what alphas and betas will think of that. "Little odd" meaning it's about a trip to Aimia, but about half of it is the trip there, and half of it... it's kind of like what happened with, actually, the King Kong movie that Peter Jackson made, where there's as much stuff happening before you get to the place as actually on the place. So that's one thing that I'm... I'm not concerned about, but I'm wondering how people respond to.

I have to say, it's been a real pleasure to write it because Rysn and Lopen are not characters that I get to do a lot of viewpoints from. And if I had to do this from one of the main-line Stormlight characters, I think it wouldn't be nearly as fun, because I basically exhaust my excitement for writing about them during the books, where they are very involved, and it takes me eighteen months to recuperate and then to get back to it excited again. But I almost never get to write Lopen scenes, and we only get one Rysn scene per book, and they both have really interesting ways of seeing the world. (Lopen in particular. And he's a blast to write. Always keeps things fun and interesting.)

Questioner

Stormlight tabletop RPG game. Have you ever looked into that? Would you ever consider that?

Brandon Sanderson

We would consider it. Since we've done one with Mistborn, it is certainly something we would consider. And Stormlight would be the thing we would do. But the Mistborn game is still having active support, and we enjoy our partnership there with Crafty, so there hasn't been a lot of real nitty-gritty detail discussion of doing a tabletop RPG. I expect it will happen someday, how about that; but we don't have any immediate plans.

Natalie

Do you ever dive into fan theories? And has it perhaps helped you to come up with a solution for some plot issue you have trouble figuring out?

Brandon Sanderson

Plot issues, no. Because, if I'm having trouble with a plot issue, that's usually during the outlining stage, and it happens well before fans are seeing things and can theorize on things. But, once in a while, in writing group I'll be doing something, and they'll start theorizing, and I'll be like, "Oh, that's a way better idea than what I had!" And that helps a ton; writing group can do that. The danger of writing group is, sometimes, they can take over the book. But as an outliner (as I am), that never happens to me. So if they are theorizing about something...

Really what it helps me is when people are theorizing along certain directions, it tells me what they're interested in, what they're thinking about, what they're expecting. And as a storyteller, one of my big goals is always to be in control of reader expectations, at least on the large scale, so that I know how people are gonna respond to what I'm writing. And I am creating and shaping that experience for people, and fan theories are really great for helping me understand where I need to put emphasis, what I've explained, what details are foreshadowed well enough.

I'm of the philosophy that most major things that happen in a series (like the ones I write) should be foreshadowed well enough that people are figuring out what's happening. This doesn't alarm me when people figure out early what's going to happen, because this entire series is about the journey. And I feel like if my signposts are correct, people are gonna have a general instinct.

That said, I always do like to add a few zingers that people aren't anticipating at all. I like those, when either they're the sort of zinger that surprises the cast; something happened in life that nobody's anticipating. And the fun is how people respond, rather than the actual surprise itself. Or the sort of surprising-yet-inevitable; the things that you aren't expecting until it happens, and then realize you should have expected it. So, I do like to throw those out now and then. Like, the little twist that happens with Adolin at the end of Words of Radiance; this is not something that I think people could have guessed, but it makes sense with his character. And so people were shocked, but not surprised, if that makes sense. And those sorts of twists, I really like to do.

But fan theories, I do read them when they pop up on Reddit. Mostly because people are asking me about them. And I find them very interesting. But they're more relevant in a "market research" sort of way than they are in a "figure out how to fix this problem" sort of way.

Geck O Kerr

In Mistborn, where are people getting their metals from? Mining is *never* mentioned. Skaa/workers work in fields and factories etc but mining (atium excluded) is never mentioned. Wouldn't noble houses (particularly in era 2) want to own mines?

Brandon Sanderson

Indeed! But most of the best mines were not in the central dominance, so they didn't play as often into the story. You should expect mining all across the land, but do remember that the amount of metal used by allomancers (who are still relatively rare) doesn't really impact how much needs to be mined. Compared to what's needed for industry and the like, the amount used by allomancers just doesn't figure in. And so what is produced in the Final Empire would be similar to what would be in any other nation of their tech level.

Brandon Sanderson

Writing the climactic sequence of Rhythm of War was the culmination of decades of planning and hoping. “It’s one of the big touchstone moments from when I built the outline all those years ago. When I was first trying to break in, I wrote so many first novels,” he says. “You can’t sell book three of a series if a publisher rejected book one, which meant I was creating all these outlines for huge series I never got to write. Young Brandon wished he could write some of the cool things he’d imagined for later books. This one I actually got to execute, and it was so satisfying. I finally got to a book four.”

Brandon Sanderson

Skyward Three Update One

Hey, all. Brandon here with my first of a series of updates on the Skyward series. This post does not contain spoilers for the first two books, other than mentions of the structure of the series, but the comments could very well include them. So reader beware.

First off, a note about where I'm posting this update. I'm aware that /r/skyward not only exists, but is actually about the books. (I am surprised, as I anticipated such a common word having already had a subreddit for it when the series started.) Me posting here is not a suggestion that /r/skyward is an unworthy subreddit. I heartily suggest people help that subreddit grow and have fun with the discussion there.

However, for my shorter series, I think I'd prefer to post updates on a general interest subreddit. So, for the time being, you can expect Stormlight updates to go to its subreddit, Mistborn updates to go to its subreddit, but all other updates to be split between /r/cosmere (for cosmere stories, obviously) and this subreddit. I think that will make it easier for people to track where I'll be posting.

Finally, if the mods would rather I not co-opt this subreddit for posts like this, let me know. I'd be happy to post them to my user profile instead, as I don't want to derail this subreddit or take over conversations.

That said, it's time to talk about Skyward. As is common for me with a series like this, I had an idea of where the series was going when I wrote the first book--but didn't sit down and codify the entire series until it was time to write the second novel. Like what happened with Wax and Wayne, Skyward became four books when I did this, as I realized the story I wanted to tell worked better as four volumes: a stand-alone solo book to kick off the series followed by a more in-depth trilogy digging deeper into lore and characters.

The good news is that the outline for Skyward Three, which I wrote back in summer 2018, is in really solid shape. I only need to make minor updates to account for things I changed/tweaked while writing book two. I officially started work on the outline today, and anticipate spending about a week doing these updates.

From there, I'll need to stop and do a revision on the Stormlight Novella from the kickstarter. I anticipate starting the actual writing for Skyward Three on October first. The book should be roughly 100k words, maybe a little longer. Generally, I can count on 8-10k words a week of solid writing.

If all goes well, then, the rough draft should be finished January 1st. I'll try to do a second update sometime in November to let you know how it's going. If I turn in the book January 1st, I should be able finish the fifth draft by summer (depending on editorial and beta reader feedback) and have the book out around a year from November. But that's just a guess, not a promise.

Thanks, all, for your patience on this one. Stormlight books take a huge bite out of my time--justifiably so, but it does mean everything else has to arrange around those novels. I'm sorry to make Skyward skip a year as a result, particularly since it ends on a cliffhanger. But hopefully I can get books three and four to you all in 2021 and 2022, with no further interruptions.

As always, I won't be having replies from this post sent to my inbox. I apologize if I don't see your comment as a result.

Brandon

Nanotyrannus

How much continental surface is covered in the maps of Scadrial (Era 1) and Roshar compared to Earth continents?

Isaac Stewart

Scadrial's map isn't completely canonized yet, so answering could be a bit spoilery, but I believe Brandon has said that most of Roshar is ocean.

Code4Medic

Since you made the Alethi script for Stormlight. I'm curious if it is a phonetical transcription or alphabetical. Specifically with the -tion letter/sound. Would it be spelled as is or pronounced?

Isaac Stewart

Alethi script is mostly alphabetical. English speakers would just spell -tion.

Yata

I have the doubt about RoW's Epigraphs. The 9-10's Epigraphs explains how pewter/tin allows to build amplifiers/diminishers but then it moves to Steel and Iron (metals never mentioned yet) cages for adv design. Is the epigraph right or is there an error in it?

Peter Ahlstrom

No error.

Lauren

If you found yourself as an apprentice in the Cosmere, who would you like as a mentor figure and why?

Brandon Sanderson

Oh boy, who would I like as a mentor figure and why. I would probably pick someone boring in Silverlight, because I do not necessarily want to be involved in the great workings of the Cosmere because there is a lot of danger involved in that. I would stay far away from Hoid. Khriss would not be bad but she gets into a lot of dangerous situations, and I'm not sure that I would recommend letting her get you into those situations. How about that.

So yeah. There you go. Vasher - definitely right out. Don't be near Vasher if you value not getting your soul sucked into a dangerous black sword.

But, you know, I'm not sure if I could come up with a name. If I have to name - somebody that is going to be named... Maybe Vstim. You know, he was a good mentor and yeah, he travelled a lot, but he was really careful. Granted, he did have his apprentice jump off a greatshell's head, but that was more her fault than his. I think he would take really good care of an apprentice. And he knows his way around, so he's a pretty good mentor.

Brandon Sanderson

You can read Aether of Night. I gave that to 17th Shard to give away to people. You can read the e-book of that.

White Sand and Aether of Night are readable books. They both have big problems. Aether of Night has the problem that it feels like two different books. There's like, a romantic comedy happening at the same time as a dire war and invasion by dark forces, and the two books don't really work well together. It's like a Shakespearean mistaken identity romantic comedy going on opposite that.

White Sand just has the problem that it's about thirty percent too long, overwritten for what the plot actually is. We fixed that when making it a graphic novel, but some people like the prose version instead, so you can get that and read it. White Sand is canon to the Cosmere with the tweaks made to the graphic novel. I don't ever intend to rewrite White Sand, though I do intend to someday have other things happening on that world. So that one is canon. Aether of Night is not, even though there's a Shardpool and a Shard in it. The events that are happening in that book are not canon. Aethers are - you've seen them pop up here and there. But the actual events of the story aren't.