Fantasy writer Brandon Sanderson has retained rare control over screen adaptations of his Cosmere universe
Have you heard of the writer Brandon Sanderson? If you’ve not, you’re sure to soon as a major deal with AppleTV signals that his writing could be a big new fantasy franchise that everyone will be talking about.
Sanderson is best known for his expansive literary universe, the Cosmere, with books set on various planets that manifest different but interconnected forms of magic. What’s so significant about this AppleTV deal is that Sanderson will possess remarkable control over the production of adaptations of his entire back catalogue. Crucially, it has been reported that he will have approval over any decisions, enabling him to oversee projects as writer, consultant and producer.
It’s a level of creative control over the adaptation process from page to screen which has been described as unprecedented for an author.
Writers are often wheeled out when promoting an adaptation to reassure audiences of how “faithful” it is or to show support for any changes to the source material. But it’s not particularly common for an author to wield significant creative authority over the production process itself, especially for big-budget franchises.
In my book on the Harry Potter franchise I explore, for example, how JK Rowling’s approval (and supposed influence) was frequently invoked in promotion for Harry Potter films to build prestige for the franchise. But, it wasn’t until the Fantastic Beasts series (2016-22) that she actually received a production credit as screenwriter.
There are some exceptions. George RR Martin contributed to script-writing, casting and production in the first few seasons of the Game of Thrones TV show, an adaptation of his novel series A Song of Ice and Fire. Martin has since acknowledged, however, that he had “less and less influence” over the TV show as it progressed, with similar breakdowns in communication during the adaptation of prequel series House of the Dragon.
Authors also sometimes write their own adapted screenplays. Gillian Flynn, for example, wrote both the novel Gone Girl and the screenplay for its film adaptation. Emma Donoghue won a best adapted screenplay Oscar for her work adapting her novel Room.
This process, called “self-adaptation”, has a long history in media and entertainment, even going back to Charles Dickens who adapted his works into stage plays. But authors may, of course, have strong opinions about how their work is adapted or have differing priorities to studio executives. Right now, when big-budget franchise instalments are expected to make hundreds of millions and hopefully attain long-term popularity, it’s a risky strategy to give creative control of a budding franchise to an author.
But that is exactly what’s happened with Sanderson. His literary properties are no doubt attractive to studio heads, having sold more than 50 million copies worldwide and slotting into the science fiction and fantasy niche carved out by mega-franchises like the MCU (Marvel Comic Universe), Game of Thrones and Harry Potter.
He’s also famously productive – publishing more than 50 novels in the last 20 years – which reduces the risk of acquiring a literary property whose overall narrative will never been concluded, something HBO had to navigate with the Game of Thrones TV show. The appeal for AppleTV is also clear, given its strategy to adapt genre fiction such as Foundation, Silo and Murderbot.
But how and why has Sanderson managed to retain so much creative control? I think the key lies in his commercial approach.
Sanderson established his own publishing and entertainment company, Dragonsteel Books, in 2012. As an online storefront it sells merchandise from special-edition books to board games to t-shirts. In 2020, it was reported he raised a record-breaking £30 million through Dragonsteel Books, using Kickstarter to self-publish four “secret projects” he had written during the COVID pandemic.
Since 2021, Dragonsteel Books organises a yearly Brandon Sanderson fan convention. And, in 2024, Sanderson announced that his company had purchased land to build “Dragonsteel Plaza”, which is expected to contain a bookstore, creative hub and company headquarters.
Sanderson challenges our cultural idea of the author as a creative genius who shuns commercial activity: he actively embraces it. He demonstrates the kind of attitude that aligns with the priorities of a global megacorporation such as AppleTV that is looking for ambitious large-scale franchises to launch.
With his Mistborn series touted for film and Stormlight Archive for television, it remains to be seen what Sanderson’s creative direction will look like. But what’s clear is the benefit of Sanderson’s collaboration for AppleTV: a creative figurehead and a commercially strategic ally for a fledgling franchise that has incredible potential for longevity.
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Cassie Brummitt does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.