Snow is falling. So I look up.

The world mystifies when you stare up through falling snow. Even standing still, you can soar. Even alone, you are surrounded. Even mundane, you find magic. I’ve spent my life chasing the fantastical, yet everything I’ve ever imagined can be casually matched by someone tilting their head up so they can experience it. The soft. Settling. Aspiration.

Of snow on an otherwise ordinary day.

When I was eighteen, I moved from Nebraska to Utah. Here, snow is fleeting, embarrassed to be an obstruction. But in Nebraska, snow squats. It claims land, builds empires. You fight it all winter, carving pathways, reconquering your sidewalks. The cold digs inside, frosting your bones with a chill that lingers, even after you return to warmth.

I often think of those snowy days, now that I live in a desert. But each year my memories are a little less fresh. We build our lives with layer upon layers of years, like falling snow. And like the new snow, most experiences melt away. In interviews, I’ve been asked to recount my most frightening experience. I struggle to answer because it’s the lost memories that scare me—the unnerving knowledge that I’ve forgotten the majority of moments that made me who I am. Those dribbled away when I wasn’t looking and joined the spring runoff of life.

Fortunately, some experiences do remain. In one, I’m fourteen, and it’s a cold night in Nebraska. My best friend at the time was a boy we’ll call John. Though we went to different schools, he was one of the only other Mormon kids around, so our parents often had us play together. When you’re very young, it’s proximity—not shared interests—that makes friends. This often changes as you age. By fourteen, John had found his way to basketball, parties, and popularity. I had not.

On that day, after a youth activity, another friend suggested we leave to go have some fun. I don’t remember where. Strange, that I’ve lost what this was about, though the rest of the scene is etched into the glacial part of my brain. One of us was old enough to drive, so we headed out to their car.

Five seats. Six teens. They’d already counted.

Without a word to me, the others climbed in. John gave me one hesitant look, then settled into the front passenger seat and closed the door. They left me on the curb. The car vanished, taillights flaring in the night like lit cigarettes.

The memory settled in for the long winter. That night. Watching. Remembering John’s face, which was so strikingly conflicted. Half ashamed. Half resigned.

I was no stranger to being outside. It happens when you’re one of three Mormon kids in a large school. You’ll be at a birthday party, and the wine coolers will come out. Everyone stands there worrying you’ll judge them—while you just want them to stop staring. But you leave anyway, because you know they’ll enjoy themselves more if you and your unusual morals aren’t there to loom.

It should have been different that night though, watching John and the others drive away. They were in my church group—ostensibly, my tribe. They’d still left me outside.

This event shocked me in how dramatic it was, as I wasn’t generally bullied. I tended to be adept at social settings. People generally liked me. At the same time, there was something I’d begun to notice. Something distancing about me.

It happens still. It isn’t that people shun me or don’t want me around; indeed, they seem to appreciate me. When I join a group, I generally end up leading it in some way, and I never sense resentment to this fact. But I also have an air around me. Some writer friends call me the “adult in the room.” I tend to attack projects too aggressively, tend to be the one who steps in and gets things done—even when they don’t need to be done immediately, and when everyone else would rather relax.

This comes, in part, from a certain…oddity about me that started in my young teens, around the time that John drove off. As my friends grew hit puberty, they became more emotional. The opposite happened to me. Instead of experiencing the wild mood swings of adolescence, my emotions calcified. I started waking up each day feeling roughly the same as the day before. Without variation.

Around me, people felt passion, and agony, and hatred, and ecstasy. They loved, and hated, and argued, and screamed, and kissed, and seemed to explode every day with a pressurized confetti of unsettling emotions.

While I was just me. Not euphoric, not miserable. Just…normal. All the time.

Often, it genuinely seems like I exist outside of human experience. It’s not sociopathy. I’m quite empathetic—in fact, empathy is one of the ways that I can feel stronger emotions. I’m not autistic. I don’t have a single hallmark of that notable brand of neurodivergence. It’s also not what is called alexithymia, which is a condition where someone doesn’t feel emotions (or can’t describe them).

I care about people, and I feel. I’m not empty or apathetic. My emotions are simply muted and hover in a narrow band. If human experience ranges between a morose one and an ecstatic ten, I’m almost always a seven. Every day. All day. My emotional “needle” tends to be very hard to budge—and when it does move, the change is not aggressive. When others would be livid or weeping, I feel a sense of discomfort and disquiet.

My emotions do go a little further than this on occasion, maybe once a year. It takes something incredible—such as being deeply betrayed by someone I trusted.

I’m not looking for sympathy; I don’t want to be fixed. I appreciate this aspect of my makeup—and it’s part of what makes me so consistent at writing. When everyone else is in crisis, I’ll just steam along. At the same time, when everyone else is elated by some good news…I’ll just steam along, unable to feel the heights of the joy they feel.

It makes people uncomfortable sometimes. Makes them think I’m judging them. While I’m absolutely not, I do try to be careful how I talk about my condition. Not as something to fear. Something, instead, I’m proud of—not because it makes me better than anyone else, but because it’s me. I like being me.

My neurodivergence came up in a recent interview I did. The interviewer latched onto the fact that I don’t feel pain like others do. (More accurately, some mild pains don’t cause in me the same response they do others.) I asked the interviewer not to mention it in his article, as I felt the tone to our discussion was wrong. I worry about my oddity changing the way people think of me, as I don’t want to be seen as an emotionless zombie. So I try to speak of it with nuance.

As the interviewer ignored my request, I thought I’d talk about it here. Profile myself for you—because this aspect of who I am has deep ties to another happening from my teenage years. In this, I want to answer a big question for you, the one everyone wonders about. The key to understanding Brandon Sanderson.

Why do I write?

Why do I write so much?

Why do I write so much fantasy?

Let me tell you about the first day, that beautiful day, when I found myself inside.

It was when I opened a fantasy novel. I was an isolated kid whose emotions were doing something bizarre. Even John leaving had left me feeling…disturbed more than angry. Alone, and outside. Then I opened a book where I found emotion.

In that story about dragons, and wonder, and people trying impossible things, I found myself. I felt a variety of powerful emotions through the characters—emotions that I remembered from when I’d been younger.

I hadn’t tried reading fiction in a long while, so I was blindsided by this perfect book. The experience transformed me, quick as a boy tilting his head back, looking up, and finding a new world.

When I read or write from the eyes of other people, I legitimately feel what they do. There’s magic to any kind of story, yes—but for me, it is transformative. I live those lives. For a brief time, I remember exactly what passion, and agony, and hatred, and ecstasy feel like. My emotions mold to the story, and I cry sometimes. I legitimately cry. I haven’t done that outside of a story in three decades.

Stories bring me inside.

My second published novel is called Mistborn. It’s about a world where ash falls like snow, and I can linger, looking up through it via a character’s eyes. Near the beginning of Mistborn, the teenage protagonist finds herself standing outside a room. It is full of light and laughter and warmth. But she knows, she knows she doesn’t belong inside that room.

She’s wrong.

Nearer the end of the book, I linger on as similar scene—only now, she’s sitting with the others. Light and laughter. Warmth. Mistborn was the first novel I wrote after getting the call offering me a book deal. Finally—after slaving over a dozen unpublished manuscripts—I knew I was going to be a professional writer. With that knowledge, I wrote Mistborn, the book about a girl who learns to come inside.

While writing Mistborn, I changed. Now that I’d made it inside of publishing—now that I’d joined those authors I’d loved for so long—why would I keep writing? I needed a new goal, and I discovered it that year.

So let me tell you why I write. It isn’t about worldbuilding; that’s a mistake everyone makes about me. Assuming I write because of worldbuilding is like assuming someone makes cars because they love cup holders. It’s also not because I’m Mormon, as some profiles bizarrely conclude. My faith and cultural heritage are both important to me, but if I were any other religion, that aspect of me would rightly be a footnote—not a headline.

I don’t write for plot twists, or dragons, or clever turns of phrase—though I enjoy all of these. I write because stories bring people inside. And I sincerely, genuinely believe that is what the world needs.

Lately, I’ve seen a resurgence of something that genuinely disquiets me: an attempt by some members of our community to hold others outside. Science fiction and fantasy is forever gatekeeping what constitutes good or worthy stories. Like my old friend John, who sought cooler friends, we renounce anything accessible—part of our perpetual (and largely fruitless) plea for legitimacy with the literary establishment.

Thing is, I can’t really get mad when someone does this, because I’ve done it myself in the past. The unfortunate truth is that we all probably have at times. The moment a group finds cohesion—discovering the warmth and peace of being inside—we decide there aren’t enough seats, so we start muscling and pushing. Readers who came in because of the latest popular teen novel? Outside. Fans of the film version of a story, instead of the book version? Outside. People who don’t look the same as the supposedly conventional fan? I suspect they know this struggle far better than I do.

To use a thematic metaphor, it’s like we’re dragons on our hoard of gold, jealously keeping watch, worrying that if anyone new enters, their presence will somehow dilute our enjoyment. The irony is that there is infinite space inside, and if we open the way, we’ll find many of these newcomers are the very treasure we’re seeking.

Fantasy, out of all genres, should embrace the different, even if it doesn’t match our specific taste. This is the genre where anything can happen—and should, therefore, be the most open genre. Only fantasy offers me the full range of emotion. The wonder of exploration. The magnificent highs of epic scope and the miserable lows of cataclysmic terror. In writing it, I can learn. Monomaniacal, I hunt experiences of people different from myself, then explore them in prose until I feel—in some small part—what they do.

This is why I write. To understand. To make people feel seen. I type away, hoping some lonely reader out there, left on a curb, will pick up one of my books. And in so doing learn that even if there is no place for them elsewhere, I will make one for them between these pages.

Those who interview me seem to have trouble understanding this fundamental part of who I am: that writing for me isn’t so much about performance as it is about exploration and elevation. I love prose both literary and commercial. And I think I write great prose. I’ve slaved over my style, practicing for decades, honing it for crisp clarity. My prose is usually intended to convey ideas, theme, and character, then get out of the way—because this is how I strive to bring everyone inside.

That said, I know my goal is impossible. Occasional strolls through the outside are part of being human, and I can’t eliminate that. And even I have to admit that there are lessons to be learned on those lonely paths. For example, contrast is the only way to appraise growth. Emotional alien I may be, but that very alienation has motivated me to understand. I value the connections I’ve made so much more for that struggle.

Moreover, I find that occasionally looking in through a window at everyone else gives a person a more complete perspective. Inside, things can get messy, and a streak of color finds it hard to comprehend the painting. I’m a better writer because of my time spent looking in. I don’t know that I could have written Mistborn if I hadn’t been left on that curb.

This isn’t to discount the pain of those who have been forced outside. Nor is it an advocacy for extended periods spent in the cold. I also don’t know if I could have written Mistborn if the wonderful people of the science fiction and fantasy community (including many of the friends I now work with) hadn’t latched on to me in college and—at times—forcibly pulled me inside to be with them. Beyond that, as I’ve grown older, I’ve found people like Emily, who love me in spite of (and partially because of) my quirks. Blessedly, because of this, my times outside have been increasingly brief.

My goal here is merely to point out (as I’ve had occasion to remember recently) that beautiful moments do accompany the isolation. You can only watch the snow fall when you’re outside. Only then can you look up and experience that mystifying world, where fragments of the sky drift past and lift you toward the heavens.

I’m forty-seven now, enjoying desert snowfalls in early April. The man I am is separated by distance and time from that boy who stood on the curb, and I’ve forgotten most of the steps that led between the two. I still don’t feel strong emotions outside of stories—but I did tell an interviewer lately that I sometimes cry when writing scenes in my books. They just aren’t the scenes that I thought he’d expect.

I don’t necessarily cry when characters die, or when they marry, or even when they find victory. I cry when it works. When it all comes together, and in a beautiful shimmering burst of humanity, I feel what it is to be that character. At those times, I remember what I learned twenty years ago writing Mistborn. That there’s a reason I do this. And even if I’ve lost more memories than I retain, each of them had a point, because they collectively brought me here.

So when you find yourself in the cold, know that sometimes, there’s a purpose to it. Trust me; I’ve been there. I might be there right now. Feeling the cold on my cheeks—but these days, no longer in my bones. Knowing that this will pass, and that it might be for my good. Most of all, looking up so I can appreciate it. The still. Solemn. Perspective.

Of one who stands outside.

Hey! Brandon here. You know, I said that these were not going to be weekly probably, even though I was going to call them weekly, and now we’ve done one every week.

So here is our Weekly Update.

I am still working on Wax and Wayne 4. It’s going really well. I have just finished the first chunk of scenes, and it came together. I’m somewhere around 12%, I believe, is what my latest send-in to the team was, and it’s looking really good. Right now, if I haven’t mentioned before, I’m planning to finish this by August 1st. I’m planning the book at about 150,000 words. There is a longer update on Reddit, if you’ve kind of missed some of these updates and just want to read only about Wax and Wayne 4, which we’ll link in the liner notes.

Last time I asked you what you guys were most interested in regarding art books for the Stormlight Archive. And 66% of you prefer the guidebook style. You can look last week if you want to know. This is what I thought you would say. It’s the one that I thought would be most interesting, an in-world guidebook that features a lot of art but also is kind of like a coffee table book you can put out that you can give to a friend who hasn’t read the Stormlight Archive and they’re like, “What’s it about?” Well, here is some cool artwork with some in-world descriptions.

I kicked around some ideas with Isaac on this. We’ll probably start working on this. Again, this is probably not for four years or so. But we will start working on this. It looks like you guys are excited. We did get 20,000 responses from you, so that’s really good. And the overwhelming majority of you, 76% of you, said that we would buy all three if we put them together. And I chatted with Isaac, and right now we’re going to take the first two on this list, because we think that we can make the coffee table art book and the guidebook kind of combined into one. But what we can’t really combine in that is the encyclopedia-style book, which we’d actually want to be alphabetized, and things like that.

And so what we’re going to do is we are going to start kind of working on these two things together but as separate books that we would sell together and sell separately. But probably do a Kickstarter for the two of them together, and then later on you can just buy them individually. So like, a larger art book/guidebook as one, and then an encyclopedia-style sort of companion book, and things like that. I really think these will work well matching the first five books, because we will probably have to do separate ones after book 10 that would cover that era of Stormlight, the 6 through 10.

Thank you for your feedback. It’s been really super helpful at pointing us the way we should be working. And because this feedback was so good, my team came to me and said, “Could you ask them another question this week?” So I hope you guys are up for another poll.

Because one of the things we’ve been working on, we get a lot of requests for more games. Not necessarily video games, we get a lot of requests for video games. We can’t just—video games are hard. But we get a lot of requests for board games, RPGs, these sorts of things. And we are thinking of doing a Stormlight one. We do have Mistborn House War. And we also have the kind of deck-building card game Call to Adventure: Stormlight. We want to do something else in this realm, focused on the Stormlight Archive, more of a traditional board game sort of thing.

But we weren’t sure what you guys were interested in. And so we actually have a little poll attached to this. And this is just, we only want the one you are most interested in right now, the one we would do first. I can imagine us doing multiples of these in the future. But for right now, what do you want most?

And so our options are, a kind of lighter, faster board game. And our examples like that are something like Splendor or Ticket to Ride. Again, those are only examples. It’s not like we would go and make a Stormlight version of one of those games. We just want you to kind of see where our head is at. And some of our board game experts that we talked to said these were smart categories.

There’s a medium-length game style that would be more like Small World or Dune: Imperium, where it’s, again, medium length.

There would be the heavy, large, in-depth game, like War of the Ring is the example they gave. My brother loves these, the big, intricate, massive board games that take days to play. Would you be interested in that?

And then there’s a legacy game, like Gloomhaven. The games that play, they’re probably going to play like a medium-style game, but you’re going to change the game as you go. They’re very much the rage. I like legacy games, so I made them throw that in there as an option as well.

And then, of course, there’s the classic pen and paper RPG, which we don’t have yet for Stormlight.

I imagine we’re going to do multiples of these in the future. Which one are you most excited to get right now? What would you like us to work on next? And this is mostly targeted to you board game fans. What are you looking forward to getting from us? And we will take that advice to heart. Anything you want to mention in the comments about what you like and what you don’t like, and where we should steer clear and where we should go. We’re getting more experience in this realm. I think we’re doing a better job with each thing that we make. But those comments are really helpful to us, just to know what people are wanting. We don’t want to overload you with merchandise. We want to be targeted in creating the things that we are excited about and you’re excited about.

So those are your options. If you have time, go down and click on that poll. And we also have some links there to what some of these games are in case you need to familiarize yourself with the style of game we’re talking about with those various ones. And I will be back next week to talk more about Wax and Wayne 4. Thank you, guys, so much.

Introduction

Welcome, everyone, to our final State of the Sanderson for the decade! If you’re not familiar with these posts, each December I take a look back at my year and talk about the projects I’ve been working on. Then I turn an eye to the future to see where I’m planning for things to go in the coming years. If you’d like to see last year’s State of the Sanderson, you can find it at this handy link.

This year was dedicated primarily to writing Stormlight Book Four; I’ll have a specific update on that for you in a little bit. I also spent a lot of time traveling, particularly to Europe—to the point that I’ve been feeling the weight of my travel. (Which indicates it’s time to scale back for a while.)

Stormlight years always have a little less variety than “off” years where I work on a more eclectic mix of stories. So while I got a ton done, there won’t be much in the way of updates on other projects. One thing I wanted to add this year, however, is a little survey—mostly about our leatherbound books. So if you’d do me a favor and hop down to answer a couple of questions, that would help us a ton. I’ve put the survey at the bottom of the following section, which will dig into leatherbounds in depth. This section is a tad long, which will come as no surprise since I wrote it. So if you’re not interested, you might want to meet me back at Part Two.

• Part One: Leatherbounds and Survey Time!
• Part Two: My Year
• Part Three: Updates on Major Projects
• Part Four: Updates on Secondary Projects
• Part Five: Updates on Minor Projects
• Part Six: Film/Television Updates
• Part Seven: Other Cool Projects
• Part Eight: Projected Schedule
• Part Nine: Bonus Section, the Future of the Cosmere

Part One: Leatherbounds and Survey Time!

This year, we’re releasing the Warbreaker leatherbound! This book is particularly gorgeous; we’ve added a few features such as illustrated drop caps and interstitial art. We put these volumes together in-house, rather than farming them out to someone else, and we pour a lot of attention into making them great. Next year is a big year for us, as we’ve reached the tenth anniversary of The Way of Kings, and will be releasing a leatherbound of that book.

Now, some of you might be wondering, “Brandon, isn’t The Way of Kings double the size of the previous books you’ve done as leatherbounds?” Yes. Yes, it is. That’s meant a lot of extra work on the part of my team, who have already been working on it for a good eight months. We want this book to be something extra special—and because of that, we’ve wanted to do preorder incentives (like goodies and swag) to go with it.

The logistics of doing this worried us a lot, however, as we’re still a relatively small team. Beyond that, we expect The Way of Kings leatherbound demand to strain our logistics and shipping departments. When talking about this with Howard Tayler, my cartoonist friend, he suggested we use Kickstarter to alleviate these problems. I was hesitant at first, as I know Kickstarter is mostly intended for people who need extra up-front money in order to create a product. We’ve been able to fund the leatherbounds ourselves so far, and we’re certain we can create these without needing extra time.

However, Howard really sold me on Kickstarter by pointing out how great the site’s management tools are for creators. If I want to offer different packages for the book, with a variety of preorder items personalized to customer preferences, the only way I’d be able to manage this is to take advantage of Kickstarter’s infrastructure and tools. As we’ve looked into the process, my team and I have come to agree that this is the only way we’d be able to do what we want to with The Way of Kings leatherbound.

So, while I know some of you might be skeptical about this like I was, I ask you to give us a chance to show why it will be a good thing. Our goal will not be to move to Kickstarter for all leatherbounds, only Stormlight leatherbounds every three years—because the added size, complexity, and logistics of such a large book require us to have some extra help. We plan to launch The Way of Kings as a Kickstarter in the summer of 2020, probably June or July. The book will likely come in two volumes, and will have to be around double the cost of our previous leatherbounds. (So, $200 to $250 instead of $100.) I thought it only fair to warn you all up front. Plus, if we hear concerns from the community that we haven’t considered, announcing it this early will help us deal with those before the actual campaign.

To that end, I have a little mini FAQ dealing with issues I think you might have.

Q: You are doing the Kickstarter in the summer. When will the books be sent out?

The goal will be to start sending these out as soon as possible, hopefully months before the holidays arrive. We are going to put our order in as soon as we can for the books themselves, and get the incentives constructed ASAP. Ideally, we’ll send you a single box with book and rewards all together in one cool bundle.

There will be some digital rewards offered as well. These will be sent out the moment the campaign closes, and will hopefully tide you over until the physical products arrive.

Q: Will this leatherbound be available on your store later, like the others?

Yes, it will. If you miss the campaign, you’ll still be able to buy the book.

Some things might not be available in the later printing, however, depending on what incentives we offer for the Kickstarter. For example, we will possibly offer a slipcase as part of the Kickstarter incentives—but (depending on the size of future print runs) we might not be able to offer that with the later editions we sell in the store. In short, the book will totally be there for you to buy later—but any stretch goal achievements and swag associated with the Kickstarter would have to come from that campaign. (With one exception mentioned below.)

Q: I like supporting my local independent bookseller. Will any stores be getting this book like they have other leatherbounds you’ve done?

I haven’t cleared this with any of the stores yet, so I don’t want to speak for them. However, we love our bookstores, and have tried from the get-go to involve them in our leatherbound distribution. Our goal will be to set aside a certain number of books as requested by the booksellers we work with frequently. (And if you’re a bookseller who has had me in your store for a signing in the past, and you would like to be selling these leatherbounds too, make sure to contact us.)

My goal will be to add all bookseller orders into the final count from the Kickstarter, and order an equivalent number of physical reward objects for them to include with their books. So these bookstore editions should include all unlocked stretch goal rewards in the boxes we send for them to sell. They might not be personalized to your preferences (e.g. you might receive a random order of Knights Radiant, based on the box you get), but we hope this will work so that readers who prefer to buy from the booksellers do not feel left out.

The short version is this: if you miss the Kickstarter, there’s a good chance that a limited number of boxes with full rewards included will be available at retailers, for the same price people paid in the Kickstarter. Those stores should be similar to the ones that have been carrying our leatherbounds so far.

Q: Leatherbounds are expensive. Will I be able to participate if I’m not interested in such a high ticket item?

My plan is to write a Stormlight (or at least Cosmere) novella next spring to offer as part of the Kickstarter campaign. We’re anticipating some lower tiers that involve getting digital-only rewards and a digital copy of the novella—all for a very reasonable price. We will likely also offer just the novella in print form, along with all campaign rewards, as another slightly higher (but still well below $200) tier that you can buy into as well. (And, of course, a tier that has everything—including the leatherbound and a print copy of the novella.)

Q: So…a novella you say. Anything else you can tell us about the rewards?

We haven’t settled on anything yet. I haven’t even written the novella, so it’s possible that won’t even happen. However, it’s likely that we’ll be letting you choose an order of Knights Radiant (and we’ll post full descriptions of all ten orders, including information not yet in the books) and receive rewards based on your preference (i.e. physical rewards with that order’s symbols on them).

There’s also a decent chance I’ll offer an ebook of The Way of Kings Prime (the version I wrote of the book back in 2002 that is way different from the 2010 version) as a stretch goal unlock. This would be sent to everyone who participates in the campaign at any level.

Okay, if you’re still with me after that (we’re over a thousand words into this SotS already, and I haven’t even really started yet), let’s talk about the survey. After The Way of Kings, the next book to hit its ten-year anniversary is The Alloy of Law. Instead of being a lot larger than the average Sanderson book, AoL is half the size. We aren’t allowed by Tor to sell our leatherbounds for less than $100, and the logistics of printing them kind of preclude that anyway.

However, I thought that perhaps you all would like to get The Alloy of Law and Shadows of Self bundled together as a single leatherbound. I figured if we have to charge double for a double-sized stormlight book, shouldn’t we charge half for a half-sized mistborn book? This would require binding the two books together though.

Assistant Adam, who is a leatherbound connoisseur, mentioned that some people might not like this—he thought the leatherbound collectors he knows would just prefer to have the individual books, separate as they’re sold in stores, for their collection. So, we thought we’d ask you. The survey below is getting at this idea. The questions are very simple, so feel free to look them over before taking it.

Finally, a couple of questions for those of you who attend my book signings. I’m having some growing pains in this department. My signings, put flatly, are just getting too long for me to handle. The last Stormlight tour wore me out, with each signing lasting until 1 or 2 a.m., with signs that they were going to grow even larger. I need to do something to either speed up the lines, or make the signings easier.

Fortunately, I have some guides in this department. I’m fortunate enough to be approaching crowds similar to the ones GRRM or Neil Gaiman get, and talking to people like them, I’ve found that there are two approaches authors generally use. Neil, for example, will pre-sign all the books. You don’t get to meet him personally at a signing, but instead you get a signed book—and then he does an extra-long presentation, with much longer readings, Q&As, and speeches than I do. In short, it becomes “an evening with Neil” instead of a book signing. Other authors (I know George has done this) still sign all the books, but don’t do a presentation at all, and don’t allow personalizations or pictures.

I’m curious what all of you think. My own inclination is a hybrid of my current method and Neil’s method—where I do a longer presentation like Neil does, perhaps bringing Isaac to do a presentation on artwork too. Then have a lottery (which is not based on your ability to buy a more expensive ticket, and is instead completely random) for a hundred people to come meet me afterward and get a book personalized.

If you’re interested, I’d enjoy you answering some questions about this too. (Note that none of these apply to release parties, which will continue to be the insane and enormous extravaganzas you’ve come to expect.)

Okay, whew. Thanks for sticking through all of that for me. But we spend a lot of time on the leatherbounds, and want to make sure we’re creating them the way you want. Now, on to the regular State of the Sanderson.

Part Two: My Year

January–March: Starsight Revisions

My goal had been to launch straight into Stormlight Four in January, but I didn’t quite make it. We thought we had the book wrapped up by February, but some of the beta reader comments set me thinking about several problems with Starsight—and I made the tough call to do another round of revisions on the book to make it as good as it could be. This put me about a month behind; I’d built in a buffer, but had really wanted to start on Stormlight Four in February. (I even had a trip to Hawaii planned to kick it off—as nothing is better than writing on the beach. Alas, though I got a tad of Stormlight done on that trip, I spent most of it on Starsight.)

But the revisions worked, and the book finally clicked into place. Judging from the reader responses, it feels like that extra month really paid some dividends, so I’m glad I did it.

April: Stormlight 4

The real work on Stormlight 4 started in April, where I launched into Part One. Writing went pretty good from the get-go, as I’m always kind of working on Stormlight outlines—even when I’m writing other books. So I can often hit the ground running. Stormlight books literally have two decades of planning behind them.

May: Europe Trip One (Germany)

This trip was a lot of fun—and Art Director Isaac went with me, as he speaks German. The fans were enthusiastic, and the tour was a huge success. But it did also slow me down a ton. Not much written this month.

June: Stormlight 4

I got back into it, eventually managing to catch up all the lost time from Germany. (Though I was still about a month behind because of the Starsight revision.) I might have caught all the way up, except…

July: Europe Trip Two (Spain/France/Belgium)

Another big trip through Europe, though about half of this one was vacation rather than work. My father was a missionary for The Church of Jesus Christ of Latter-day Saints in France and Belgium when he was in his twenties. Now that he’s retired, we wanted to take him back to show us around. Spain was a work trip for me (one of my favorite SF/F conventions is in Spain, and I love going there).

August–September: Stormlight 4

I jumped back into it, and despite a little detour at Dragon Con in September (the hotel room they gave me was amazing—check out my view above!). I managed to catch all the way back up on lost time, and then on October 9th caught up (finally) from the lost month in March, putting me 100% on track to finish the book by January 1st. But then on October 11th, I flew back out on tour…

October: Israel, Europe Trip Three (France, the Czech Republic)

I’ve always wanted to go to Israel, and locked in about two years ago to be a guest at a convention in Tel Aviv. The trip was great, really special—and was followed by the utterly cool chance to go visit the Wheel of Time television show set in Prague. So while I had a great time, it was a little hard to admit it put me behind again by a month.

Here are some photos from my tours and conventions!

November, December: Stormlight 4

I’ve finally caught up again as of last week, and am making the final push to finish the novel. It’s been touch-and-go all year, but I’m confident now that the book will be finished by January, which is why I let Tor announce a release date. (See below.)

All in all, it was a great year—despite being a bit frantic and putting me on way too many airplanes. (The odd part is that after all of this touring, I have a ton of frequent flyer miles—but I’m often too tired of travel to use them, so my family/assistants end up using them for trips.) At the same time, I really do love working on Stormlight books. One of the reasons I take such a long break between them is to make certain that when I come back to Roshar, I’m refreshed and eager to get back to it. And speaking of that…

Part Three: Updates on Major Projects

The Stormlight Archive

Book Four has a release date next year on November 17th. I allowed Tor to set this because I’m confident that we’ll meet it—so we should be in good shape for that release, barring some catastrophic responses that I haven’t anticipated during alpha/beta reads. The tentative title for the book is still Rhythm of War, but because of the way Stormlight books work (where each book title is an in-world book title as well), I can’t 100% say that will be the title in this case until the book is finished.

When Book Four is done, we’ll have only one more book in the first Stormlight sequence. As I’ve been saying for years, Book Five is one of the major end points of the series. I anticipate writing that in 2022, for a 2023 release. Yes, I know, many of you wish those gaps were shorter. It’s turned out that a three-year gap is best for my writing psychology, so we’re going to stick with that for now. And, since they’re each as long as four regular books, it’s like getting a Stormlight book faster than one per year—except you have to save them up to read in batches.

STATUS: All systems go!

Mistborn

I had hoped to squeeze in Wax and Wayne Four this year, but falling behind a month (plus the aggressive tour schedule) made that impossible. I sometimes forget just how much touring takes out of me—which is partly why there wasn’t a Starsight tour. (And partly why I put that question in the survey about how to make book tours a little less exhausting.)

I consider Wax and Wayne’s final book to be imperative to finish before I start Stormlight Five. Starting in July, once Stormlight Four is fully revised and turned in, I’ll have two main projects demanding my attention. Wax and Wayne four is one of those, Skyward is the other. (I might need to get to Skyward Three before it, FYI, depending on how much Stormlight burns me out on epic fantasy. But both Skyward Three and Wax and Wayne Four should be finished by the end of the year next year.)

After that, it will be time for me to be looking to Era Three of Mistborn—which will be written in the years between Stormlight Five and Stormlight Six.

STATUS: Wayne is threatening to beat me up if I don’t get to this soon. 2021 or maybe 2022 release for the final book.

Skyward

Book Two is out, if you somehow missed that fact. I’d like to say thank you to everyone for indulging me so much on my side projects. Starsight was a huge success, even without me touring for it. These books are really fun to write, and good for my writing as they allow me to relax between big Cosmere projects. The fact that all of you are willing to embrace and read them is quite gratifying. One of my biggest fears becoming an author was that I’d get locked into doing only one thing, then get burned out on it.

As you can see from the last 15 years of my publishing career, I am interested in a lot of different things. The fact that you’ve been willing to read about Spin, Jerkface, and Doomslug as readily as you do about Kaladin, Dalinar, and Shallan is wonderful to see. Thank you so much for making this new series a success.

STATUS: Should write Book Three sometime late next year. 2021 release is likely.

Part Four: Updates on Secondary Projects

Dark One

We’re moving ahead with the graphic novel on this, and giving you some glimpses of that is one of the big things I’m happy to announce for this State of the Sanderson. We’ve included some gorgeous pages below. The graphic novel is turning out to be something really special. We don’t have an exact release date for this yet, but it shouldn’t be too much longer before we can announce one.

In addition, many of you may have heard the news that J. Michael Straczynski (creator of Babylon Five, among many other cool projects) is attached to this project to make a television show. The same outline I came up with for the graphic novel drew serious Hollywood attention, which is how this happened. That said, JMS has other projects he’s working on as well, and Dark One needs to wait for the right time for him to work on it.

STATUS: Real motion here. Exciting developments in the process!

Songs of the Dead (Was Death by Pizza)

This perpetual entry in the State of the Sanderson is creeping ever closer to being a reality. My co-author, Peter Orullian, has suggested the title Songs of the Dead—which is a really great title, considering it’s about a heavy metal singer necromancer.

We’ve got a second draft done, but it needs a third one. Unfortunately, the hangup is me, as Stormlight has taken basically all my time this year. Peter sent me his latest draft in June or so, and I’m only halfway through my revision of it at this point. So I’m sorry it’s taking so long; I’m excited for you all to read the book, but as it’s my first true book collaboration, there are some growing pains as we figure out how to make the process work right for us.

Hopefully I can finish my next revision early next year, send it back to Peter for one final draft, then begin showing it to editors.

STATUS: Waiting on my next revision.

The Original

This novella that I wrote with the fantastic Mary Robinette Kowal is finished and being recorded as an audio original. It should come out very soon, and I’m quite proud of it.

I’m a little annoyed as the Will Smith movie that came out earlier this year has a similar premise. But that movie bombed and apparently wasn’t very good. So maybe people will appreciate a similar idea done right? We’ll see. I had hoped to get this out before Mr. Smith’s movie came out, but Mary Robinette was busy winning all of the awards for her excellent Lady Astronaut series, and I was busy getting rained on in Roshar.

STATUS: Out soon.

Alcatraz Six

This one is mostly done, just needing a few little tweaks. Again, I haven’t had a ton of time last year, but this one is looking really good. It’s basically all complete, only needing one last pass. We should be doing the interior artwork and editorial work next year.

STATUS: Basically done.

Elantris, Warbreaker, The Rithmatist

No updates from last year, I’m afraid. There was no intention to make progress on these this year. Once Alcatraz is wrapped up, I’ll turn my attention back to The Rithmatist as the last looming series that needs a wrapup that hasn’t gotten one. Elantris and Warbreaker sequels aren’t to be expected until Stormlight Five and Wax and Wayne Four are done.

I know a lot of you keep waiting on Rithmatist news, and I feel bad having to give you the same news every year. (Yes, that paragraph above is the same one I put in the State of the Sanderson last year.) But the truth is, I really can’t work on this until at the very least Alcatraz is finished.

A glimmer of light for you Rithmatist fans is this: my son just read the book, and he’s joined the crowd calling for me to do a sequel. So you have an in-house representative.

STATUS: Keep Waiting. (Sorry again, again.)

White Sand

Graphic novel three is out now! So if you haven’t picked it up, please check it out!

We’ve learned a lot doing our first graphic novel series. Again, there were some growing pains. (We aren’t thrilled, for example, by how often we ended up needing to change artists.) The good news is that we really enjoy doing these, and so we are planning to do another graphic novel series set on Taldain, visiting darkside and dealing with Khriss and her adventures there. So if you are one of those people who read the prose version years ago, and have been waiting for some resolution, Isaac and I are outlining a sequel series right now.

STATUS: Trilogy complete, likely to do a collection of all three in coming years. Sequel series being outlined.

Part Five: Updates on Minor Projects

For many of these little projects, you may want to glance back at previous State of the Sanderson documents to see what they even are, as this is pretty long already and I don’t want to keep making the same pitch every year. So really, take note if a specific idea interested you, but don’t worry if you’re confused and you don’t get many details here on these.

The Reckoners, Legion

Both are completed. Though I’ve had enough people asking after them that we’re toying with doing some audio-original novellas set in these worlds. For example, one of my big goals for Legion was to get it made into a television series. While that could still happen, as it’s under option by a production company, I’ve been thinking that maybe I could do something like that on my own—as an audio series. We could create a sequence of episodes written by a writer’s room with me as the “showrunner.” I could see doing something like this with the Reckoners to continue that story, for those who want to know what happens next.

If we can get these off the ground, I’ll let you know. Also, if you like The Original, please let me know—as that will influence me in doing similar projects with Legion and the Reckoners.

STATUS: Completed, but cool things could still happen.

Adamant

No change from last year. This space opera series of novellas is in limbo until I find the right time to work on them. It will happen eventually.

STATUS: No movement.

Starburner/Soulburner

Something’s happening here, but it’s hush-hush for now.

The Apocalypse Guard

Well, this book got weirder—as expected with Dan and me working together on something. It’s moved to the back burner, as even Dan’s revision wasn’t enough to get it where we want it to be. So this one is entering limbo for now.

STATUS: No motion for months now, might be dead.

Other Projects

Untitled Threnody Novel, Sixth of the Dusk sequel, another story with Shai, and The Silence Divine persist as “maybe” stories that someday I might write. They are joined by a Secret Standalone Cosmere Book, that wacky YA Cosmere Book with Magic Kites, Untitled First of the Sun YA novel (not involving Sixth), and a few others as Cosmere novels that might someday make it to the front burner. (Once Skyward is done, I think it would be good to do a YA book in the Cosmere, so I’ve begun working on possible ideas.) Aether of Night also is still hanging around, maybe needing a novel. So we’ll see. I’ll talk a little more about the Cosmere in a future section, after we get to the film stuff.

If I write a novella to go with the Stormlight Kickstarter, it has about an equal chance of being Wandersail (a Rysn novella), Horneater (a Rock novella), or a sequel to Sixth of the Dusk (which is tricky because it reveals maybe a little too much about Space Age Cosmere politics).

Part Six: Film/Television

Note: read last year’s State of the Sanderson for more talk on what it takes to make a film or television show out of a novel. However, the biggest news here is that I’ve decided to try taking a more active role in getting some of these made. To that end, I’ve most specifically been working closer with Dan Mintz, the producer who is trying to get some Cosmere things made. See below.

Snapshot

New screenplay has been written, and is being shopped to directors right now, so far as I know. Still under option by MGM, and looking good—but no real updates.

Stormlight Archive

I’ve offered Dan Mintz to do treatments for this myself, and he’s been very amenable. He and I have been working more closely together lately to see if we can make this happen.

Steelheart

Option lapsed at Fox just last month. This wasn’t surprising, as after the Fox/Disney merger, there wasn’t much of a chance that Disney would greenlight a non-Marvel superhero project. Instead of immediately going out to shop this again though, I’m taking a few months to consider how I want to approach film and television.

Legion

Still under option to Cineflix Media. No updates lately.

Skyward

Deal is in the works, but can’t talk about it yet.

Alcatraz

Likewise, deal is in the works, but can’t talk about it yet.

Dark One

Working on this with JMS, which has been super cool.

Mistborn

Considering maybe writing the screenplay on this myself. After speaking with Dan Mintz, we decided he would focus on spearheading Stormlight, and I would focus on spearheading Mistborn. So we’ll see what I decide to do.

Part Seven: Other Cool Projects

Stormlight Children’s Book

A publisher Isaac has worked with doing picture books asked if maybe we could do an adaptation of “the girl who looked up” story that Shallan and Wit tell in Oathbringer. We thought this was a pretty cool idea, and so Isaac is working on the adaptation. If we do this right, it could come out around the same time as Book Four.

Brotherwise Call to Adventure Board Game

This summer, Brotherwise Games will release Call to Adventure: The Stormlight Archive. Originally planned as an expansion for the board game Call to Adventure, it has grown into a full standalone game with 120 cards and everything you need to play. Call to Adventure is a hero-crafting game that combines strategy and storytelling. It’s similar to some “tableau-building” games where you’re creating a kingdom or civilization, but in this game you’re building a character. Each player begins with cards that define your hero’s origin, motivation, and destiny. Over the course of the game, you overcome challenges and gain traits. It’s a game with points and a clear winner, but the highlight of every game is telling your hero’s story at the end.

The guys at Brotherwise are huge fans, and they’ve worked closely with us to make sure the Stormlight Archive game is true to the books. It emphasizes cooperative play as players become Radiants and face Odium, but it’s possible to choose a villainous path and work against the team. The cards are all inspired by familiar scenes and themes, and in Call to Adventure you’re piecing together those moments to tell new stories. Here’s a sneak peek at illustrations for some of the cards: Choose A Side (Ganna Pazyniuk), Herald of Justice (Petar Penev), Face the Unmade(Artem Demura), Leader (Ari Ibarra), Elsecaller (Randy Vargas), and One More Try (Artem Demura). Expect more news on the game closer to its release date in summer 2020!

Crafty Games Dice Kickstarter

If you’re reading this when it comes out, know that you’ve only got a few hours left to get in on the Mistborn dice Kickstarter (and help them try to meet their final stretch goal). This should be the last Kickstarter we do for anything until we reach the Stormlight one in the summer.

Crafty has been doing great work on the RPG front, and have been an excellent partner. If you’re at all interested in dice, have a look at their Kickstarter. I’m really looking forward to getting mine!

Part Eight: Projected Schedule of Releases

• The Original audio novella: 2020
• Stormlight Four: Fall 2020
• Skyward Three: Summer(?) 2021
• Wax and Wayne Four: Fall(?) 2021
• Alcatraz 6: 2021–2022
• Dark One Graphic Novel: 2021–2022
• Skyward Four (final book): 2022
• Stormlight Five: Fall 2023

Part Nine: Bonus Section, The Future of the Cosmere

One thing you might have noticed in the secondary projects section is that I have a number of collaborations in the works. This is partially because I wanted the chance to work with some of my friends on books, which is a fun and different way to write. But it’s also because I’ve begun to realize that I need to keep more of my focus on the Cosmere.

That isn’t to say I’m not going to write anything that isn’t Cosmere moving forward. (Skyward proves that.) At the same time, these State of the Sanderson posts come out on my birthday each year—and as I age, I’m growing more aware that I won’t be able to write all the books I want to. I’m still relatively young, and relatively fast as a writer.

Let me explain. Back in my 30s, I generally didn’t worry that I wouldn’t be able to finish things I started—that wasn’t even something that occurred to me. I just wrote whatever I wanted at the time I wanted to write it. Now I’m in my 40s, and I’ve realized that the Cosmere is also a big project. Back in the summer of 2007—before I even had kids and before the Wheel of Time came my way—I first sat down and asked myself, “How big is the Cosmere?” I came up with an outline of between 32 and 36 books. That seemed like an easy task. At two books a year, that would barely be fifteen years out of my (hopefully) very long career.

But I was somewhat naive then about a number of things. I didn’t realize just how much effort Stormlight books would take to write. I didn’t realize how much time touring would eat out of my schedule as I grew more popular. I didn’t realize how many other things might take my attention, like doing films.

A few years after that 2007 outline, I realized that I needed to start writing some of my side projects as novellas, rather than novel series with promised sequels. (Things like The Emperor’s Soul and Sixth of the Dusk grew out of that realization.) Lately, I’ve begun asking myself on some of my ideas, “Could I do this as a collaboration? As an audio original or graphic novel?” These are other ways to tell my stories, but to do so in a manner that takes less of my direct time. You’re all going to have to tell me if you like the products of this effort. I can’t stop doing side projects; as I’ve said many times, this is how I prevent myself from burning out. But maybe I can make the deviations I take to do those side projects a little less time-consuming.

For what it’s worth, here is what I have as the current Cosmere sequence, not counting potential YA books or the occasional novella. Finished books are in bold. This isn’t an exact chronology of when I’ll write them either.

• Elantris 1
• Elantris 2
• Elantris 3
• Mistborn Era 1: Book One
• Mistborn Era 1: Book Two
• Mistborn Era 1: Book Three
• Stormlight One
• Stormlight Two
• Stormlight Three
• Stormlight Four
• Stormlight Five
• Mistborn Era 2: Book One
• Mistborn Era 2: Book Two
• Mistborn Era 2: Book Three
• Mistborn Era 2: Book Four
• Warbreaker 1
• Warbreaker 2
• Mistborn Era 3: Book One
• Mistborn Era 3: Book Two
• Mistborn Era 3: Book Three
• Stormlight Six
• Stormlight Seven
• Stormlight Eight
• Stormlight Nine
• Stormlight Ten
• Dragonsteel Book One
• Dragonsteel Book Two
• Dragonsteel Book Three
• Untitled Threnody Novel
• Untitled Aether Book One
• Untitled Aether Book Two
• Untitled Aether Book Three
• Mistborn Era 4: Book One
• Mistborn Era 4: Book Two
• Mistborn Era 4: Book Three

That’s thirty-five novels. The original outline I made in 2007 had a maximum of thirty-six, but was a little different. For example, I had Dragonsteel in my mind as seven books back then—but as I progressed through the Cosmere I quickly realized that I was offloading a lot of that story to Stormlight. (Bridge Four, remember, started on Yolen—the Dragonsteel world. So did Dalinar, actually.)

I’ve shrunk Dragonsteel to a trilogy as I focused on what I wanted it to be: a compelling story about Hoid and his origins. (Along with the shattering of Adonalsium.) That snapped Dragonsteel into place in the Cosmere quite nicely. This is why I’m still at around the same number of mainline novels even after adding the Wax and Wayne books.

The original outline didn’t name the Threnody novel as such; that slot was filled by a standalone where I planned to do some of the things I’ll now accomplish. In the original outline I had White Sand, but that became a graphic novel series. This, plus my uncertainty at the start if there would be other standalone novels, indicates why I had a 32–36-book series in mind at the start, but now have 35 “mainline” Cosmere books. (Another point I’ve wavered on is where Aether fits into this.)

That makes eleven books in the Cosmere finished in the last 15 years, less than a third of the full Cosmere sequence. This means, at this speed, I’ve got at least another thirty years of writing to do—putting me optimistically at age seventy-four when I finish. (Assuming I don’t add anything else, like a Mistborn cyberpunk between eras three and four—or a standalone or two, which I’d really like to be doing more.)

So, perhaps you can see why I feel a need to start focusing a little more attention on the Cosmere. I don’t want the years to slip away from me, and right now seems the time I need to be thinking about this—not when I hit sixty and realize I’ve been ignoring one series or another.

I write this out not to scare you. (Hopefully.) One of the reasons I divided it all up into separate sequences, even within the same series, is so that we’ll have endings and be able to “complete” series, rather than leaving you hanging forever, feeling like these things are going on too long. At the same time, the Cosmere is my life’s work—and from the get-go, I wanted it to be epic in every sense of the word.

I hope you are enjoying the journey, because I don’t intend to stop anytime soon.

Thank you all for another fantastic year.

Brandon

Brandon’s art director Isaac here. The Mistborn series book covers have had a colorful history of different illustrations: the beautiful originals by Jon Foster, Chris McGrath’s iconic renditions that we can probably thank for some of the paperbacks’ success over the years, and of course let’s not forget Sam Weber’s fantastic covers for the young adult editions. Then there was that one cover with the grim reaper. Yeah, we don’t talk much about that one.

Book design, just like fashion and automotive design, goes through phases. Thankfully we’re not quite getting a different “book look” with each season of the year, but the way a book cover is illustrated and designed can definitely tell you about how long it’s been on the market.

Sometime last year, we got into a discussion with Brandon’s agent Joshua about the Mistborn mass market covers. They’ve been on the paperback books for over a decade now, and it was time for a refresh. This is a testament to the Mistborn series’ longevity that it’s stayed in print long enough to even need new covers!

After a few brainstorming sessions, we were drawn to some of the symbolic book cover illustrations that Sam Weber has done recently. His work on Robert Jackson Bennett’s Divine Cities trilogy is beautiful. (Please note, City of Stairs is one of my favorite fantasy books ever. It’s got more swears than Brandon’s books, so be aware of that, but oh man, can I get a leatherbound version of it someday, please?) Sam’s work for Kiersten White’s And I Darken series has resulted in some of my favorite book covers in any genre in any era. And have you seen his painting for Neil Gaiman’s Norse Mythology? Wow! And Sam’s cover for the YA version of Mistborn clearly showed that he really groks the series. So we asked Tor if Sam was available. We cheered when he was.

 

Here are the results. Symbolic paintings that hopefully convey the feeling of each of the books in the series. We hope these will reach across genres and capture readers’ attention. We hope they will stand out on the shelves and woo new readers at airports. Ultimately, we also hope the fans will like them. Hats off to Tor, and to Sam Weber, for putting these together. You have done the Cosmere a great service.

One more thing to note, Tor has redesigned the interiors of the mass market reissues, basing the text on the preferred versions found in our Dragonsteel leather editions. The result is a clean, very readable text, with fixes for the few typos and continuity glitches we’ve discovered over the years.

Please enjoy!

Introduction

Another year has passed, and Koloss Head Munching Day is upon us again. It’s been a fun year, full of me working on interesting side projects, so expect quite the list of updates in this (very long) post. But first, let me give a hearty thank you to the community of readers that continues to put up with my sometimes insane writing process. I realize it results in me having a lot of projects, necessitating posts like this one to keep everyone up to date. For many writers, this might be an overwhelming number of irons in the proverbial fire—but it is exactly what I need to keep me excited about the process, and to keep me from burning out.

Know, however, that I realize this can be a little frustrating if you’re waiting for one specific update that keeps not happening. It’s quite the challenge to keep all this straight, but I do my best to keep in mind that by beginning something, I make an implicit promise that I will finish it. I take this promise seriously. I will do my best to balance my artistic needs with the trust you’ve all shown me by continuing to support my work. I consider this post, along with updates on places like my subreddit, to be essential parts of this process. I often cannot rush the artistic process, but I can keep you all informed of what is causing delays, or what projects I find exciting. This is how I make myself accountable to you, as you are the means by which I even get to do this wonderful job in the first place.

So, introduction done, here we go! Let the circus commence.

My Year

January-March: Skyward and Legion Revisions
I kicked off the year quickly doing a second draft of Skyward. Pulling The Apocalypse Guard from the publisher, then promising them Skyward to publish in the fall of 2018, meant that I had to scramble. It wouldn’t do to pull a book I judged to be of inferior quality, only to replace it with a book that I didn’t have time to revise up to my standards. So you’ll see a number of months dedicated to Skyward. (Which, if you somehow missed it, did come out—and is still sitting quite happily on the New York Times bestseller list many weeks later, so thank you all very much!)

Another thing I’d been putting off for months was the necessary revisions of the third Legion story. Tor was quite patient with me on this one, considering the Legion collection was scheduled for publication in the fall as well. But during these three months, I did multiple revisions of both books, eventually getting Legion into a polished state. (There was one more draft of Skyward still to do.) Legion Three, Lies of the Beholder, can be found in the Legion collection that was published earlier this year.

Finally, somewhere in here, I squeezed in an outline and world guide for Death Without Pizza. (Yes, that’s a name change—no it’s not the final name, but just a placeholder.) More on that later.

April: Children of the Nameless
Sometime around March of last year, Wizards of the Coast sent me an exploratory email. It being the 25th anniversary of their card game, they were wondering if I’d be interested in doing a story with them. As most of you know, I’m quite the fan of Magic: The Gathering. It’s my primary hobby, and I have way too many cards. (Which still aren’t enough, of course.) I was enthusiastic, and you can read more about the process I used to approach the story in this blog post.

I knew that by doing so, and by writing the story as long as it ended up, it would make getting to some of my other projects later in the year more difficult. (Namely, the fourth Wax and Wayne book, which I’ll talk about shortly.) But this was kind of something I had to do, so I ask your forgiveness in taking this detour to Innistrad. I’m exceptionally pleased with the story and the response it has gotten, so if you haven’t read it, I present it to you here! Reading it requires no prior knowledge of the card came or the lore surrounding it.

May: Skyward Final Draft
How long it takes to write a story depends on a lot of factors, but in general, three months gets me around 100k words. Shorter stories, with fewer viewpoints, tend to be faster—while longer stories with more intricate plotlines (like Stormlight) tend to take longer. But that’s just for the rough draft. Generally, doing all the other drafts takes an equivalent amount of time to the first draft. (So, if the first draft takes three months, the second through fourth drafts will together take another three months.) You can see this at play in Skyward, which took about three months to write in the end of 2017, then took three additional months of revision to polish up.

I did sneak in a little time to do an outline for a piece called The Original in here as well, which took about a week. I’ll update you on that in the secondary projects section.

June–August: Starsight First Draft
And, speaking of three month first drafts, here we get me buckling down and doing the sequel to Skyward. It’s finished in its first draft form, and dominated my summer. In here, I also did detailed outlines for the third and fourth books of the series. (And this is where I determined for certain that the series would need to be four books instead of three.)

September–October: Odds and Ends
In these months I had some travel to record episodes of Writing Excuses, I did a quick second draft of Starsight to send to my publisher, and I did some revisions to Children of the Nameless. I also did more work on The Original, Death Without Pizza, and Alcatraz Six (AKA Bastille vs. the Evil Librarians, or Alcatraz vs. His Own Dumb Self). Finally, I slipped in some brainstorming with Dan Wells on how to fix The Apocalypse Guard.

Basically, I knew that November would be mostly lost to touring, and I was scrambling to get some work done on small projects to clear my plate for 2019, which will be dedicated to working on Stormlight Four.

November: Skyward Tour
I spent most of November on tour for Skyward, and quickly finishing up final revisions on Children of the Nameless. I got to see a lot of you while touring for the book, and had a blast—but these tours get more and more difficult as the lines get longer and longer. The tour for Stormlight Four in 2020 might require me to do some things I’ve been dreading, such as limit the lines to a certain number of tickets. It makes me sad to contemplate, but I’ll keep you all in the loop about what we decide to do.

That said, here are some pictures from my tour! Let the costume parade commence:

Syl – Barnes & Noble, El Cerrito

Mistborn – University Bookstore, Seattle

Shallan and Jasnah – University Bookstore, Seattle

Cobalt Guard – University Bookstore, Seattle

Spensa Nightshade – Anderson’s Bookshop, Chicago

Mistborn – Barnes & Noble, Atlanta

Wax – Barnes & Noble, Atlanta

Shallan – Murder by the Book, Houston

Australia(?) and Bastille – Murder by the Book, Houston

Mistborn – Murder by the Book, Houston

December: Death Without Pizza
I needed a break from all the other things I’ve been doing, so in classic Brandon style, I worked on something fresh and new to give myself a breather. This was where I was going to do Wax and Wayne Four, but doing Children of the Nameless meant that instead of three months extra space at the end of the year, I only had one month. (As CotN had taken one month to write, and one month to revise.) I had the choice of pushing back the start of Stormlight Four, or doing something else for this month and trying to sneak in W&W 4 sometime next year. I chose the latter. It’s important to me that I let myself do side projects to refresh myself—but I also think it’s important to keep to my Stormlight schedule. It would be too easy to keep putting off the big books until they stretch to years in the making. I told myself I was going to divide my time in half between Stormlight and other projects.

The truth is, I’m getting really anxious about getting back to Stormlight. That’s a very good sign, as once I finish a Stormlight book, I’m usually feeling quite burned out on the setting, and need a number of months to recover.

Anyway, that’s where the year went! Now, on to the exciting part. The big list of projects and updates to them.

Updates on Main Projects

Stormlight
As you just read about above, I am on track for starting this book on January first. I’ll begin with a reread of the first three books, as I find I need a periodic refresher, even on my own novels. This will also be important for helping me really nail down the outlines for books four and five.

As I’ve worked on the Stormlight series, I’ve shifted a lot of things around in the outlines. Famously, I swapped Dalinar’s book and Szeth’s book (making Book Three have Dalinar’s flashbacks instead of Szeth’s). But along the same lines, I moved a chunk of Book Three into Book Two, and then moved around smaller arcs for Three, Four, and Five.

The Stormlight series has a very odd structure. Each novel is outlined as a trilogy plus a short story collection (the interludes) and is the length of four regular books. This lets me play with narrative in some interesting ways—but it also makes each volume a beast to write. The other superstructure to the series is the spotlight on the ten orders of Radiants, with each book highlighting one of them while also having a flashback sequences for a character tied to one of those orders. If that weren’t complicated enough, the series is organized in two major five-book arcs.

What this means is that I need to do some extra work on books four and five, as they together tie off an arc. There are some small plot lines I’ve been pushing back from book to book as I nail down what each volume will include—but I can’t do that with Book Five, as it will be the capstone of this sequence. So I need the outlines to be tight to make certain I get everything into them that needs to be there.

Anyway, that’s a long way to say, essentially, I’ll start posting updates to the Stormlight subreddit in January, and you can follow along there or on the progress bar we’ll post here on my website on January first. I’ve commissioned a special piece of artwork to be used in Stormlight Four blog posts, which we should be able to reveal next year. (I’m pretty excited about it.) So you have that to look forward to as well!

Note that while I’m optimistic about this being my fall 2020 release, delays could happen if the book doesn’t come out smoothly on the first draft. I’ll keep you updated with regular posts. A lot will depend on how long the revisions take.

Status: Book Four is my main project for 2019, for an anticipated 2020/2021 release.

Mistborn
My big failure in 2018 was not getting to Wax and Wayne Four. But all is not lost! I am going to do whatever I can to squeeze this in next year. I’m feeling I might need a break in the middle of Stormlight Four, as I sometimes do. If so, I might squeeze this in there. But it will depend on a many factors. So, we’ll have to take a wait-and-see attitude.

I’m going to try to hold myself back from doing any other side projects, like Children of the Nameless or The Original from this year, until Wax and Wayne is finished. Book Four will be the conclusion of their story, and the wrap-up of era two of Mistborn. (And I have big things planned for Era Three, which I am planning to write between Stormlight Five and Stormlight Six.)

Status: Pushed off for now, but to be written very soon. No release date yet.

Skyward
Book Two, Starsight, is done, and I’ll be noodling on revisions for it in the early part of next year while I write the Stormlight Four and Five outlines. It’s scheduled for October of next year.

Stormlight Four taking all of my 2019 will likely mean that Skyward Three won’t be written until 2020, for a spring 2021 release. (At least, that would be my best guess at this point.) So you’ll have a larger-than-usual wait between Books Two and Three, unless something happens to let me squeeze Book Three in early. As I mentioned above, it’s a four-book series, and when I get back to it, I anticipate doing Book Four soon after Book Three. (Like I did in writing Books One and Two very close to one another.)

Status: Book Two ready to go in 2019. Book Three likely in 2021, Book Four likely in 2022.

Death (Without Pizza)
A major bombshell update here: we have finished a first draft of this book! I’m moving this up to major projects, as I anticipate a release of this novel in the coming two years. It is a Dresden Files-esque urban fantasy series set in London, starring a necromancer. (With a very Sanderson-style take on necromancy.)

Many of you have been following along with this project, which I’ve mentioned for many years in the State of the Sanderson posts. I wrote a rough draft of a big chunk of this book back some years ago now, but didn’t like how it was going, so I shelved it. The idea stuck with me though—and I really wanted to give it another chance. Over the years, one part I didn’t like was actually the pizza aspect. The original pitch was for a pizza delivery man who became a necromancer.

Well, over the years, I found I wanted a stronger character for the protagonist. Starting with the title Death by Pizza had pushed me to make the story more jokey than I wanted, and had led me to cut corners on the worldbuilding in ways I didn’t like. So when I went back to the drawing board, I started going in different directions with the storytelling. A more intricate, interesting magic system. And a character with more heart. Where I eventually ended up going was studying metal music culture.

The subculture of heavy metal music is fascinating to me. I really like how passionate the fans are about it, and how often outsiders are wrong about those inside it. (Do a little reading on the topic, and you might find that a lot of your stereotypes of metal fans are wrong—like mine were. The more I read about and talked to metal fans, the more fascinated I became by the subculture.) It seemed to me that a metalhead who finds out he’s a necromancer could be a cool hook.

Well, around the time I was really getting into this, I was chatting with Peter Orullian, a novelist who is a friend of mine. He’s mostly known for his epic fantasy series The Vault of Heaven, but he also happens to be a metalhead and a musician. (He’s toured internationally fronting metal bands, and recently composed an entire rock opera in the style of Trans-Siberian Orchestra. He’s even written a book with the band Dream Theater, in conjunction with one of their concept albums.)

Well, the match seemed perfect. He could bring the expertise on metal music, and I could provide the worldbuilding. So we jumped into a collaboration. I wrote out a lengthy world guide and outline, and Peter did a lot of experimenting to find the right voice for our character. We worked on the first volume all during the summer and fall, and the resulting book is quite promising. It’s the story of an American metal singer living in London whose day goes from bad to worse as he gets kicked out of his band, then makes his way to his favorite pub to lick his wounds—only to end up getting shot in the head during an apparent robbery. And after that, things start to go really badly for him.

Peter finished the first draft in November, and I’ve been spending my December doing a second draft. After that, I’ll kick it back to him for a third draft so that we can make sure our different voices are smoothed out. We’ll see where it goes from there! In any case, though, Death Without Pizza will not be the final title for the story. We’ll pick something a little less silly; I’m a little worried people will expect something over-the-top metal like Brütal Legend—which was great, but not the direction this story ended up going. Anyway, I’ll post updates as we go along!

Status: Being revised. After that, we’ll look for a publisher.

Updates on Secondary Projects

The Original
I’m moving this novella (which I don’t think I’ve mentioned before in a State of the Sanderson) into the Secondary Projects section. A while ago I had an idea for a story about a world where, if you committed a crime and went on the run for it, the government could create a clone of you (with your memories and personality) to hunt you down. After all, who better to hunt a criminal than a copy of that criminal? The copy would have strict controls in place so they could be killed by the government with the press of a button, but would be given the promise that they could take their Original’s place if they succeeded in hunting them down and killing them.

Earlier this year, the idea developed into a full-fledged outline, which I wrote out during time when I needed a break from other things. It worked out well, and so you might see progress on this in future years. Right now, I like the idea of doing it as an audio original, perhaps with a coauthor who is more experienced in audio or voice acting. So watch for updates here.

Status: Outlined.

The Apocalypse Guard
I do someday want to do something with this book. I’ve given it to Dan Wells, my long-time friend and sometimes partner in crime. He’s come back with some suggestions on how I could fix it, along with some brainstorming on where it could go as a series.

I’m going to give you fair warning, though. Every time Dan and I brainstorm together, weird things happen. Legion was the result of one of those sessions, as was Dan’s book I Am Not a Serial Killer. (Which you should all go read, if you haven’t.) The two of us are odd enough on our own, but together we’re downright strange. (You should see the two of us in role-playing sessions, where we constantly try to out-bizarre one another with our character concepts.)

I fully expect something to come out of The Apocalypse Guard sessions I’m doing with Dan, but…well, don’t expect it to be normal by any stretch of the word.

Status: In revisions, getting weirder.

Alcatraz
I’ve been tweaking Alcatraz Six. I did a partial draft a few years ago that went off the rails, and this year, I trimmed that back with some help from a friend into the parts that worked. From there, we’ve been trying to figure out how to get Bastille’s character voice right. It’s moving. Slowly, but it’s moving. Book Six, written from Bastille’s viewpoint, will be the end of the series.

Now that Legion is done, the next series I want to make sure gets tied up is Alcatraz. It shouldn’t be too much longer.

Status: Book Six made some small progress this year.

White Sand
Graphic Novel Two came out this year, and was very well received. (Save for the forced artist change, something I hated to have to do. That said, the new artist is doing a fantastic job.) Graphic Novel Three is the end of this sequence, and is well on its way to being completed.

The prose version is still available if you sign up for my mailing list. Though remember, we’ve made numerous updates to the story during the adaptation process.

I have no immediate plans to do sequels to this in graphic novel form, though you can expect stories set on Taldain to happen in the future.

Status: Final graphic novel is well under way. Release in 2019 or early 2020 likely.

Dark One
My outline for this drew a lot of buzz around both Hollywood and New York. The story, if you aren’t familiar with it, is about a young man in our world who discovers that a fantasy world has declared him to be the Dark One, and starts sending hit squads into our world to assassinate him. Pitched as “Harry Potter from Voldemort’s viewpoint,” the story follows this young man as he is forced to confront the possibility that he might do what the prophecies say.

We have a graphic novel in the works, and I’ve been doing pitches in Hollywood for a potential television show. So movement is certainly happening here.

Status: Going well. Might have art to show soon from the graphic novel.

Elantris, Warbreaker, Rithmatist
No updates from last year, I’m afraid. There was no intention to make progress on these this year. Once Alcatraz is wrapped up, I’ll turn my attention back to The Rithmatist as the last looming series that needs a wrap-up that hasn’t gotten one. Elantris and Warbreaker sequels aren’t to be expected until Stormlight Five and Wax and Wayne Four are done.

Status: Keep waiting. (Sorry again.)

Updates on Minor Projects

The Reckoners, Legion
These are both finished, and I don’t foresee any future updates anytime soon. Do note, however, that the Reckoners board game has been shipping, and it turned out great. You should soon have a chance to buy copies if you missed the Kickstarter, and I suspect there will be expansions in the future.

Status: Completed

Adamant
No change from last year. This space opera series of novellas is in limbo until I find the right time to work on them. It will happen eventually.

Status: No movement.

Soulburner
No motion on this space opera that I might rename Starburner once I get around to doing something with it. I have a cool worldbuilding document, but no novel specifically. I’ve been tempted to see if it would work for a video game setting.

Potential Cosmere Stories
Keep the following on your radar, as they may happen someday. However, as I’ll be knee-deep in Stormlight in 2019, don’t expect anything to happen on any of them until it is done. The list includes: Dragonsteel/Liar of Partinel, Sixth of the Dusk sequel, Silverlight novella, Threnody novel, Aether of Night, Silence Divine.

Movie/Television Updates

So, let’s talk about movies.

People tend to get really excited about news of my books being adapted—and rightly so. I’d be very excited to someday see one of my properties turn into a film, and I think it’s inevitable that some day, we’ll see it happen. However, the process of a book becoming a film or television show is a long one, involving the input of a lot of people. And fans tend to get very excited when something is being developed, but often don’t realize that the stages of development can often take a long time.

I thought it might be helpful here to go over what some of those steps are, so you can get a better idea of how far along my various properties are. Understand that this is a rough guide, and individual properties might follow a different route. This is also kind of an outsider’s take on it all, as I don’t consider myself an expert in Hollywood. Those who know more about the ins and outs of the business would probably consider this a gross over-simplification.

Step One: Producers Option a Story
In Hollywood terms an “option” is kind of like a rental agreement. The most common way a story starts on its path to an adaptation is with an option. (Sometimes, there’s even a step before this called a Shopping Agreement.) Basically, someone (usually a producer, but sometimes a studio) comes in and offers to pay an author every year to “option” their work, meaning the producer/studio gets exclusive rights to make a film on that work. They don’t buy the rights completely, however. Usually, they set a buyout price, then pay 5/10% of that price every year or so to keep the option locked up. This gives them time to put all the other pieces together for a film without needing to commit to paying the full buyout price until they’re certain the film is going to happen.

My agent once told me that about 1 out of 30 of the properties he saw get optioned eventually got made into a film or show. An option is absolutely an important step, but a lot of times fans see an option agreement in place and start expecting a film any day—when really, this is just the first exploratory step in the process. Sometimes, producers even option rights they never intend on making into films. (I once had a producer brag to me that he—in order to make sure nobody in town was trying to sell something similar to his property—had bought up all rights to similar books for cheap, with the intention of sitting on them for five years to make sure he didn’t have any competition. I was not impressed, to say the least.)

Step Two: Screenplay
Usually, after the option agreement is signed, a screenplay is commissioned for a film. For a television show, it will either be a screenplay for a pilot, or some kind of series bible or “treatment,” a kind of outline that talks about the process the group would use in adapting the property.

This screenplay, treatment, or bible is what the producers will take around town to try to get studios, directors, and actors interested in a property. A book being successful is interesting to Hollywood, but what they rightly want to see is if that book can be made into a workable screenplay. Often, this process takes years, as a screenplay/teleplay will be commissioned—then go through several rewrites. Sometimes, the producers will decide to hire a second or even third screenwriter to do a pass on the script, if they decide it needs another take or specific revisions.

Step Three: Studio Interest
With screenplay in hand, the producers will approach the studios or larger production companies. (Or sometimes content distributors, like Netflix.) The goal here is to get interest from parties with deep pockets and the power to actually make a film. This step can occasionally be skipped if a studio was involved from the beginning. (This has happened with several of my properties.) Sometimes, the studio might be interested—but send the producers back to step three to do more revisions before offering any kind of official deal or promise of distribution. Sometimes, the producers will need to secure promises from multiple parties—like, for instance, they might get a smaller studio in the US interested, then have to get a foreign partner interested to provide funding for overseas distribution promises.

Step Four: Attaching Talent
With a screenplay in hand and the backing of a studio or similar group, the producers can now try to get a director or actor on board with the film. This crucial step will have a big influence on how/if the film will get made. Obviously, if you get a major director interested, that makes the studios sit up and take notice. Likewise if a major actor attaches to the project. For television, this often involves getting an established show runner attached. (In my experience, with television, sometimes this sort of thing happens in Step Two instead—with the showrunner being involved in the pitch documents. In that case, Step Three is the big one: getting someone big in the business to fund a pilot.)

Step Five: Actual Green Light
Finally, if all the pieces come together, you get what is called a green light. The film is scheduled for shooting, the studio commits a large chunk of money to the project, and people start getting hired. This is when the option actually gets exercised, and the author gets the payment for the contract they likely signed years and years ago. Once in a while, a group of producers will decide that the property they hold is big enough that (once their option period runs out) they decide to pay the buyout price to get more time to try to get the film made. Sometimes, instead, they’ll just agree with the author to extend the option period for another payment.

Step Six: Film Gets Made
I’ve never gotten here, but I hear it’s a lovely experience.

So, with that in mind, I can tell you where each of my properties are. Unfortunately, I won’t be able to name a lot of names. For instance, if a director is interested but hasn’t signed on officially, it’s not my place to announce them as being involved. Likewise, if some producers have offered to option something, but we don’t have signed paperwork, it’s generally best if I stay quiet about the details so that they can do publicity on the deal in the way they would like.

Anyway, here’s where we stand for each of my properties.

Snapshot
It might be odd to see this one at the top of the list, but I think right now the best chance we have at a film would be one based on my story Snapshot. MGM announced their option of the rights almost two years ago, which is great—because it meant that we already had studio backing, cutting out one of the steps in the process. The producers were impressive in their enthusiasm, and they jumped right into commissioning a screenplay with a very talented writer.

I’ve read the screenplay, and consider it the best I’ve ever read based on one of my books. It helps that Snapshot itself is a shorter work, more easily adapted to a film. The Snapshot screenplay is an improvement on my story in virtually every way, something that I discovered with both joy and a little bit of shame. (Really, the screenwriter did some things with the story I probably should have figured out myself.)

With this great screenplay, I hope there will be a lot more good news to share really soon.

The Cosmere
DMG Entertainment optioned the rights to the Cosmere, and they have been wonderful to work with. They commissioned screenplays for The Emperor’s Soul, Mistborn, and The Way of Kings. They’re currently in Step Three above, trying to get studio interest for the properties. Mostly, they’ve been pitching Mistborn as a film series and The Way of Kings as a television series.

Likely, the success of things like the new Lord of the Rings show and the Kingkiller Chronicle will influence how this goes in the future.

Steelheart
The Reckoners series was optioned some years ago now by 21 Laps, Shawn Levy’s company, using backing from Fox. We were happy when they renewed their option this past summer, as we weren’t certain what the status of this would be in light of the Fox–Disney merger. It seems they’re planning to take the Reckoners with them through the process, which is good news.

This was an exciting deal, as Mr. Levy has done some great work—including the film Real Steel, which was an excellent adaptation of the original story. (And, of course, he was heavily involved with Stranger Things on Netflix.) Beyond that, it came with the implicit promise of support from Fox, meaning that we could skip the “finding a studio” step. That said, this is still in the screenplay stage.

Stephen Leeds/Legion
The Stephen Leeds stories have recently been optioned for a television series by a new production company. This is the property’s third time being picked up for an option, so I’m hopeful we’ll make it work this time. I don’t believe the company has been announced officially yet, so we’ll hold off on mentioning them for now. But we’re probably in the middle of Step Two for this one.

Dark One
Dark One, based on an outline and worldbuilding guide from me, is being shopped (in a Step Three kind of way) by FremantleMedia and Random House Studios, with an impressive showrunner attached. There has been movement since that announcement in June, but I can’t say anything publicly yet.

Bonus Mention: The Wheel of Time
As The Wheel of Time does not belong to me, I like to be careful about what I do and say with it. I don’t want to overstep my bounds. But for those who haven’t been paying attention, this series has progressed into a full-blown green light at Amazon Studios—with actual episodes being written and filming soon starting.

I don’t know what role, if any, I’ll have in this. Like I said, I like to be respectful of Team Jordan. It’s not my place to try to muscle in and pretend I’m in charge. At the same time, I do think I could offer something to the production, and the showrunner (who is quite sharp) has reached out to me multiple times for conversations about the adaptation. I’m impressed with everything I see, and hope to at the very least be able to pop over to the set when filming happens and grab some photos for you all.

For most of my own properties, I’d say to not hold your breath. I think they’ll happen eventually, but you shouldn’t start to get hyped up until Step Five happens for something. Well, we’re past Step Five with the Wheel of Time, and you can officially begin to feel hyped. It’s actually happening, and it looks great so far.

Games and Other Licensed Work
I’m interested in doing some more video game work. Ever since I got to be part of the Infinity Blade games, I’ve had the itch to do this again. Right now though, there is nothing in the works that I can announce—I’ve had some short preliminary conversations with game studios, but no contracts. I’ll continue to look at doing this, and will announce what I can, when I think something might actually be happening.

Unfortunately, Mistborn: Birthright never came together. (Though I’m on very good terms with the folks there.) And you can ignore any rumors about CD Projekt Red. Some fans got hyped when I said I liked them as a studio—and some news sites even picked it up as a story, for some reason. But that was just me mentioning in a random post that I think they do good work. I’ve never met with them—or talked to them—and have no reason to believe they even know who I am.

Video games aside, we do have some exciting and fun licensed properties that we’ve been working on, and I figured I should have a section in the State of the Sanderson for updates on these.

Board Games
We’ll keep looking at doing more board games. The Reckoners game, from Nauvoo Games, and Mistborn: House War, from Crafty Games—who also developed the Mistborn Adventure RPG—all of which turned out very well, and (equally important) were shipped in a reasonable timeframe to the backers on Kickstarter. We had a Stormlight game in the works, but have backed up a few steps on that one for various reasons. I hope to have one of those finished at some point. You may have seen my announcement from a few months ago, but we’ve partnered with Brotherwise Games to bring you the Call to Adventure: Stormlight expansion that should be out fall of 2019. I would also be interested in doing a deckbuilding card game based on my works eventually. (After all, you know how addicted I am to Magic: The Gathering.)

Jewelry
Badali Jewelry continues to do an excellent job creating a variety of awesome artwork pieces based on my various books. They approached me to do this way back when I was basically a nobody, and have been with me all this time, creating beautiful and detailed works.

Coins
Shire Post, creator of many fantasy-themed coins for various different properties, did a very successful Kickstarter for Mistborn coinage, and I’m quite pleased with both their professionalism and artistry. We here at Dragonsteel did the designs so that they’d be 100% in continuity with the books. We’re looking at doing more with Shire Post in the future.

Music
Black Piper’s Kaladin album has been shipping its physical rewards for backers, and are finishing up the last steps of their Kickstarter. I’m very pleased with the music, which you can find on Spotify, iTunes, Amazon MP3, and many other digital outlets. I think they did a great job, and suggest that it would make a great accompaniment to your next Stormlight reread. Due to the complexities of fitting in the album around the windows for some of our other licenses, if you’re interested in owning this we’d encourage looking at it before year-end.

Amazon
We’ve recently partnered with Amazon to help bring you more apparel options. As of now, it’s the only place other than my website store to sell officially licensed clothing. And in the not-to-distant future we’re going to expand our selection to include hoodies and other things as time allows.

Projected Schedule of Releases

Starsight (Skyward Two): November 2019
White Sand Three: Sometime 2019–2020
Stormlight Four: Fall 2020
Skyward Three: 2021
Wax and Wayne Four: Sometime 2020 or 2021

Conclusion and TL;DR

Whew. That’s quite the list, eh? This post gets longer and longer each year. The short version is actually very simple. I’m dedicating most of my efforts to Stormlight Four next year, with occasional short deviations to work on Skyward or Mistborn.

Once again, thank you all for joining me on this journey.

Brandon Sanderson
December 2018

The Hero of Ages Leather Bound

Adam here. We have some exciting news for all of you who have been “patiently” waiting the arrival of the Mistborn: The Hero of Ages leather bound. Well… we still don’t have them and we just found out that the national paper shortage is going push back our receipt by an additional week. But, we did just receive our proof copy and are ecstatic with the final results.

Now, the copy we received has everything the final print will have excepting this is neither bound nor covered. But we think it looks great enough to give you a glimpse of this magnificent book.

One of our favorite parts of making these leather bound editions is gathering our favorite covers, fan art, and—the occasionally—commissioned pieces to help bring Brandon’s books to life. We hope you enjoy them as much as we do. One of this editions standout pieces is by the incredibly talented Miranda Meeks—whom you may know from the covers of Shadows of Silence in the Forest of Hell and Legion: The Many Lives of Stephen Leeds—who created this wonderful piece for us to include.

Pre-ordering Numbered Copies
Though we don’t have physical copies in yet, we know that many want to get their copy ordered as soon as possible. So we’ve decided to work with the BYU Bookstore, Subterranean Press, and Mysterious Galaxy to make it so you can get your copy pre-ordered beginning Cyber Monday (11/26). We will open up orders on Brandon’s site the following Saturday (12/1) at 12:01 a.m. with numbers being shared with each of the stores (rotating every 4th number). That being said, with this paper shortage wreaking havoc on our anticipated reception (they were supposed to arrive in October), we still won’t be able to guarantee anything for Christmas.

These pre-order links will not be active until 12:01 a.m. on Monday Morning

• BYU Bookstore
• Subterranean Press – Closed for preorders.
• Mysterious Galaxy
• Murder by the Book

Cyber Monday Sale

We are having a little Cyber Monday Sale on Brandon’s website store where you can earn some sweet bonus swag. If you spend $30, we will send you this awesome DDF patch with your order.

If you spend $60, you will get this Cobalt Guard patch AND the DDF patch.

If you spend $100, we will send you the DDF patch, the Cobalt Guard patch, AND this Bridge Four pin that you can’t buy.

Not to mention the awesome swag we already have on sale for the holidays!

Warbreaker Audiobook Sale

If you’re an U.S. Aubible Member, Warbreaker—narrated by Alyssa Bresnahan—is on sale for just $6.95 so if you’ve been looking for the right moment to give Warbreaker a listen, now’s a good time!

Hey, all! This is the second part of a three-part series of essays related to the release of my book, Legion: The Many Lives of Stephen Leeds. Find Part One posted here. And just in case you haven’t seen anything about it yet, the book is out right now in fine stores all across the world! The release party is tomorrow, and here are the details:

Book Release Party
Date: Wednesday, September 19th, 2018
Time: 7:00 p.m., Doors open at 6:00 p.m.
Location: Room 3222/322
Parking: Visitor and “A” parking (after 4:00 p.m.)

Here’s the cover of the US/Canada edition:

Thee UK/Ireland/Australia/New Zealand cover is below. You can also order the UK standalone edition of Legion: Lies of the Beholder.

And if you purchased the other two in the limited binding from Subterranean Press, and you want a matching one, here’s their cover: (Note, this is only the third story, and only comes as a special edition leatherbound, so it’s a little pricey.)

In the last post, I talked a little about how characters come into existence, walking the line between an instinctive process and an intentional one.

Working this way can create some issues. The first is that sometimes when I talk about my process, this part of it ends up getting presented as a lot more… deliberate than it really is. I spend a lot of time trying to help new writers, and I worry that in presenting all of these outlines, exercises, and techniques, we miss emphasizing just how little we really understand about the process.

In some ways, writing a story is like hitting a baseball. You can talk all you want about the physics involved in how a baseball is pitched, then hit with the bat. But the truth is, neither pitcher nor batter are thinking about any of this in the moment.

This makes the process feel overwhelming to some new writers, who think they need to have all of this in hand before they can write a story. Truth is, I’m generally explaining things I did by instinct early in my career, then figured out ways to talk about as I proceeded to study what I’d already done.

You don’t need to feel some mystical connection to characters to start writing—and if you focus too much on the idea that your characters should “feel” right and “do what they want,” you can end up frustrated, as you don’t have the practice writing yet to get them to do what needs to be done to actually create an interesting story.

Another problem with the voices in my head is the worry that I’ll repeat myself. Working by instinct, as so many authors (including outliners like me) do, can lead to repetition. Something can “feel” right because you’ve seen that thing done so many times, you think it is the “right” way—even when it makes for a worse story.

This sort of writing, even when you’re doing something interesting and new to you, can get repetitive as you only write in one way or style. In fact, I see a lot of writers talking about the “right” way to do something, as if it’s a hard and fast rule—but it’s not really that, it’s simply the way they’ve trained their instincts to respond. Something that goes against this feels off to them, but only because of a kind of tunnel vision.

You can also start to regurgitate stereotypes and other weak or harmful tropes because they’re part of your historical experience with genre—and you take them for granted. I did this in the original Mistborn novels, where I spent a lot of time working on Vin as a character, wanting an interesting and dynamic female lead for the stories. But then I wrote the rest of the team as men—not because I consciously decided it, but because stories like Ocean’s Eleven, The Sting, and Sneakers (which were part of my inspiration) contained primarily male casts.

It isn’t that you can’t make a story that does this, or couldn’t have reasons for writing a primarily male cast in a story. But I didn’t have any of those reasons in mind; I did it because I was mimicking, without conscious thought, things I’d seen before. It felt “right” to me, but during examination later, I felt the story would have been stronger if I hadn’t just run with the default that way.

Overall, I think that repeating myself is my biggest worry as a writer. Specifically, I worry that I’ll end up writing the same characters over and over, or look at themes the same way time and time again, without even realizing that I’m doing it. That’s one of the reasons I force myself to approach stories like the Legion ones—where I have to get out of my comfort zone, write in a different kind of setting with different kinds of storytelling expectations, and see where that takes me.

And so, the third part of this series will look at the Legion stories specifically, and where the voices in my head came from in that regard.

Hey, all! Just a quick update here on how things are going. First and foremost, I’ve worked through the rough draft and the first polish of Skyward. I love the book, and it is off to my publisher; I’m hoping for feedback soon.

That done, I finally had time to polish up and revise Legion 3, which I’d written last fall. That also is now off with my (other) publisher, being edited.

Those two items were the most important, since they’re both coming out this year. The third Legion story is being published as part of a collection of all three novellas about the character, forming a complete narrative. It should be out August/September or somewhere around then. Skyward is being published by Random House this November sometimes. Expect an official announcement with the cover art to come from the publisher in the next few weeks.

I have the last quarter of this year earmarked to write the final Mistborn (Wax and Wayne) novel, which leaves me around six or seven months to play with, and I’m hoping to finish another book in the Skyward series. However, before I dive into that, there’s a certain novella I need to write. We’re listing that as “Secret Project” and it’s not anything you’re probably guessing. I’ll reveal it when the time is right, but for now, it’s not cosmere, and is not something I’ve talked about before.

Best,

Brandon

Hey, all! Things are going well with both Oathbringer and other projects, and I should have a blog post for you about those going up fairly soon.

In the meantime, however, I wanted to let you know that I’ll be attending Gen Con (Indianapolis) this weekend. Unlike most conventions I attend, here I’ll have a full-blown booth with T-shirts, signed hardcovers, and lots of other swag for sale—including the convention exclusive hardcover of Snapshot and Dreamer. Huzzah! I’ll also be on panels and playing the odd game of Magic the Gathering.

Here are my schedule and booth details.

Dates: Friday–Sunday, August 17th–20th
Address: Indiana Convention Center,
100 South Capitol Avenue,
Indianapolis, Indiana 46225

Thursday, August 17th

Worldbuilding: Creating a Universe of Worlds
Time: 2:00–3:00 p.m.
Event Type: SEM – Seminar
Location: Westin – Capitol I
It’s one thing to build a world, but what do you do when you need a universe of interconnected worlds for your stories? Featuring Brandon Sanderson, David Mack, James L. Sutter, Marco Palmieri
This event is sold out.

*NOTE: If a panel is listed as sold out (people tend to grab the tickets for free events super fast!), you still might be able to get in. Most of the Gen Con panels have an overflow line, for people without a ticket, that you can wait in. Usually a good number of people from this line get into the panel.

Signing
Time: 4:00–5:00 p.m.
Event Type: Zed – Isle of Misfit Events
Location: Exhibit Hall
Have him sign your books! Only guests with tickets are ensured of a chance for a signing.
This event is sold out.

Signing
Time: 5:00 p.m.
Location: Dragonsteel Booth #467
The signings at my booth are first-come first-serve. Ask for details at the booth. They’re longer than the official signings, which are only an hour, and are sold out.

Magic the Gathering draft with Brandon Sanderson
Time: 8:00 p.m.–12:00 a.m.
This draft is being put together by Kara, who runs my booth. She’ll have details about when/where, but I don’t have them yet. Best to ask at the booth if you want to grab a spot.

Friday, August 18th

Q&A with Brandon Sanderson
Time: 1:00–2:00 p.m.
Event Type: SEM – Seminar
Location: Westin – Grand Ballroom V
Meet Brandon Sanderson, author of the Mistborn and Stormlight series as well as the final Wheel of Time books. Ask him about his books, his projects, or anything else you’re dying to know!
This event is sold out.

Play Magic the Gathering with Brandon Sanderson
Time: 1:00–5:00 p.m.
Brandon will arrive at 2:00
Event Type: ZED – Isle of Misfit Events
Location: ICC : 141–142 : 6
Worldbuilders is a charity founded by author Pat Rothfuss in order to use the collective power of readers, fellow authors and book lovers to make the world a better place. We raise money for other charities who we believe do the best work in their field: Heifer International, Mercy Corps, and First Book. These charities’ missions and values are exactly what we have in mind when we think, “Where can this money do the most good?” We’re excited for the opportunity at Gen Con to have fans play games with some of their favorite celebrities all while generating money for these three charities who make sure the money we raise gets to where it’s needed most, and where it will do some real, long-term good.
This event is sold out.

This is a charity event, run with Worldbuilders, which should explain the high ticket price. It’s sold out, so don’t worry about it—but for the few of you I’m playing with, you’ll be playing sealed deck using Deckbuilder’s Toolkits. I’ll arrive an hour late, because of another panel, as the event starts at 1:00. (I’ll get there around 2:00.) However, I’ll have already built my deck, and you’ll spend your hour building yours. So we should be ready to play right when I arrive.

Writing Excuses LIVE!
Time: 6:00–7:00 p.m.
Event Type: SEM – Seminar
Location: Westin – Chamber
Join hosts Brandon Sanderson, Mary Robinette Kowal, Dan Wells, and Howard Tayler as they talk to authors and editors for a special live recording of their fast-paced, educational podcast for writers!
This event is sold out.

Writing Excuses LIVE!
Time: 7:00–8:00 p.m.
Event Type: SEM – Seminar
Location: Westin – Chamber
Join hosts Brandon Sanderson, Mary Robinette Kowal, Dan Wells, and Howard Tayler as they talk to authors and editors for a special live recording of their fast-paced, educational podcast for writers!
This event is sold out.

Saturday, August 19th

Signing
Time: 12:00–1:00 p.m.
Event Type: ZED – Isle of Misfit Events
Location: ICC – Exhibit Hall, Book Signing Area
Meet Special Guest Brandon Sanderson and have him sign your books! Only guests with tickets are ensured of a chance for a signing.
This event is sold out.

Worldbuilding: Making Magic New Again
Time: 2:00–3:00 p.m.
Event Type: SEM – Seminar
Location: Westin – Capitol I
Have you had your fill of spellbooks, wands, and wizards? Explore ways to make magic in your world exciting and new! Featuring Brandon Sanderson, Anton Strout, Brian McClellan, Christopher Husberg.
This event is sold out.

Writer’s Craft: Can a Hero be Too Powerful?
Time: 3:00–4:00 p.m.
Event Type: SEM – Seminar
Location: Westin – Capitol I
Is it possible for a hero to have too much power? Is there a point at which a powerful hero stops being interesting? Featuring Brandon Sanderson, Bruce R. Cordell, Howard Tayler.

Signing
Time: 4:30 p.m.
Location: Dragonsteel Booth #467
The signings at my booth are first-come first-serve. As for details at the booth. They’re longer than the official signings, which are only an hour, and are sold out.

Board Games

You should also be aware that various companies working on board games of my books will be there, doing demos of the games. The Mistborn board game, House War, has been printed and shipped to Crafty’s warehouse, and they’ll have a couple of copies to show off at the convention, but I’m not sure if they’ll have any quantity to sell there. Be sure to stop by the booths of both game companies to ask after the games, and maybe get in on a demo.

Note that I’ll have some copies of a special gamepiece on my person relating to the Mistborn board game for those interested. If you can find and ask me, you can get it.

Dragonsteel Entertainment (my booth) & Steve Argyle: Booth #467
Crafty Games: Booth #1929 (Mistborn game)
Nauvoo Games: Booth #2812 (The Reckoners game)

Scavenger Hunt

It’s Gen Con’s 50th anniversary, and we wanted to do something to celebrate. Since I’m sharing a booth with Steve Argyle—the illustrator who did these awesome endpapers for last year’s Leatherbound Mistborn—we figured we’d use them.

So, at Gen Con this year, Steve and I will have a limited quantity of generic creature tokens (for use in various card and board games) featuring Vin. You can use these for your games of Magic, for other games that they might fit, or just to have because they’re cool!

How do you get them? Well, the warrior token is quite easy. To get a copy, you just stop by the booth and ask either my people or Steve’s crew to give you one. We’ve printed off several thousand, so they should last for a little while. All I ask is that you don’t pick up more than one per person. (Please don’t come through, grab one, then come through later and grab another.) It’s okay to bring friends to collect an extra, then have them give you theirs—but I would like these to last for all who want to have one.

The Assassin token is a little more difficult to get. We only printed a few hundred of these, and after some discussion, Steve and I decided that we’d split them in half, then each come up with a game or scavenger hunt to give away our half.

I don’t know what Steve’s game is, so ask him at our booth. However, I settled on mine quickly. After all, I’m at a gaming convention, and you all probably know my nerd hobby by now.

I’m going to put up a bounty board of Magic cards that I still need for various set cubes I’m building. It will be a Google spreadsheet, open for everyone to read, that you can find here.

Yes, for now, it is empty. Each morning of the convention at 10am (on Thursday, Friday, and Saturday) we’ll put up a new list of cards. (I’m going to choose mostly cheap cards, relatively easy to locate, so we’re not going to give you warning about what they are.)

You can show up at the booth any time during show hours with one of the cards on the bounty board. As long as it hasn’t been turned in yet, you can exchange it for a copy of the Vin assassin token. However, that’s the dangerous way to do it, as you might show up and find out that the card has already been turned in.

Instead, I suggest you come to my booth and look over the most current, up-to-date list of cards. (Which will list which cards have been turned in already.) You can then “claim” one for fifteen minutes. My staff will write your name beside it and a time—then you have fifteen minutes to return with the card. During that time, nobody else can snipe the card out from underneath you.

We’ll keep this physical list up to date, but I can’t guarantee that the on-line list will indicate which cards have been found already. Note that I intend for these to be cheap cards, $5 and under (with many under a buck) but I haven’t gone through my “to find” lists in depth to check which might have spiked in price—so you might want to quickly double-check on your smartphone the price of a card before you claim it or trade it in to us.

I’d again ask that you limit yourself to one card per person—but in this case, I’ll let you do a different hunt each day, for a total possible of three per person over the weekend. (Perfect for a certain planeswalker who creates assassin tokens.) I plan to sign all the assassin tokens ahead of time. (I can’t do that for the warrior tokens—there just isn’t time—though I’ll sign them during my regular signings if you give me one.) In return, I’d ask that you sign the Magic card you give me (on the back, please) and maybe write a little note or put Gen Con 50 on it or something.

Hopefully, this will be fun! If it’s popular, we’ll do future tokens for other characters. Either way, looking forward to seeing many of you at the convention!

I mentioned a few weeks ago that I wanted to post a deleted scene for Perfect State (which is nominated for the Hugo Award for best novella, and voting is now open for all 2016 Worldcon members), as well as annotations. My assistant Peter has finally gotten around to editing them for posting. The deleted scene is up now, and the annotations will follow this week.

In other news, as I’ve shared on Twitter and Facebook over the past few days, the Mistborn: House War kickstarter from Crafty Games has gone live, and it’s now already over 300% funded with six stretch goals under its belt.

I’m thrilled that Crafty Games has built this new board game with the same attention and care they’ve long given to the Mistborn Adventure Game. Playing through it, my team enjoyed battling each other for supremacy in Luthadel. Mistborn: House War (a title I cam up with myself, by the way) melds strategy and player interaction into a unique mix. A real house war could turn out a lot like this! I hope you’ll enjoy the game.

Here’s what Crafty says about the new board game:

Mistborn: House War puts you in command of the Final Empire’s great Houses during the cataclysmic events of Mistborn: The Final Empire.

Together, you must cooperate to solve myriad problems facing the empire, from environmental and social turmoil to political strife and outright rebellion. You’ll even have to stave off Kelsier, Vin, Sazed, and the other heroes of the novels to maintain the delicate balance held in place for the last thousand years.

Simultaneously, you’ll compete to become the most powerful House in the land by currying the favor of the almighty Lord Ruler. To win, you must build alliances, negotiate deals, and undermine both your enemies and your allies—all at just the right time. But be careful! Should the players’ stewardship fail, unrest will tear the Final Empire asunder and the House furthest from the top shall emerge the victor.

Mistborn: House War is created and developed by Crafty Games, publishers of the Mistborn Adventure Game, with cooperation from Brandon Sanderson and Dragonsteel Entertainment.

Designed by Kevin Wilson (Arkham Horror, The X-Files, Teenage Mutant Ninja Turtles: Shadows of the Past), Mistborn: House War is the perfect addition to any gamer’s table, and every Sanderson fan’s collection. Whether you’re a cunning strategist or cautious diplomat, there’s plenty to love in this box.