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Questioner

Now that you’re writing the Mistborn screenplay, what would be your ideal way to show emotional or non-physical Allomancy on the screen?

Brandon Sanderson

I’m playing with a lot of different things. The screenplay right now, we’re using blue as a signifier that Allomancy’s being used. The blue lines work pretty well. Mostly, you’re gonna see a very faint blue line, and you’re gonna see the object that the person is pushing or pulling on flashing blue. That is your indication.

And right now, I have someone’s eyes flash blue when they’ve been hit by emotional Allomancy. The problem with that is, it can’t be diegetic. It can’t be in-world; it has to be a thing for the audience. Which, non-diegetic music is fine. Everyone’s used to that in movies. But something like this, we may want to try to find a better way. But right now, that’s what we’re doing. That’s at least what the screenplay is. The person uses their power, someone’s eyes flash blue; they are being affected by emotional Allomancy. You now know. Again, I assume most people who watch the film will assume that’s diegetic. Which makes for problems and a huge weakness in emotional Allomancy that I don’t intend.

It is a trick, right? To show, “How is someone using Allomancy?” I kind of want someone, when a Thug is lifting something and burning pewter, you’d be able to see. I have it written right now that blue veins move across their arms like lightning, being like, “They are using Allomancy to enhance their strength right now.”

And it might be the answer, just make emotional Allomancy be diegetic. That it’s got this big weakness in the film version of the cosmere that it didn’t have in the books, in order to actually make it visual so that people can understand what’s going on. But there might be another answer.

And remember, I am not going to be writing the screenplay. I am going to write a rough draft of the screenplay, and then I’m going to work with a real screenwriter to actually make it into a screenplay. My goal is just to get down on paper what things I think are justified and important changes to make from the book to the film, and what things I think still have to be there. My goal is that anyone I work with would be able to take this screenplay or treatment, look at it, and say, “I am willing to commit to any changes we would make to this being approved by you.”

Because what they won’t do, is they won’t give me creative control. I don’t have enough power in Hollywood to get creative control over a film. J.K. Rowling got it. But Stephanie Meyer had to go to a second-string film studio to get it. And George Martin didn’t get it. That’s kind of your hierarchy. And I am below George; I’m probably actually where George was when he got that deal, I would say. I am in the category of, I don’t have enough power to demand this. I would have to be two ranks in popularity and influence more than I am, and I don’t think that is legitimately something we could wait to happen, because to get to Twilight or Harry Potter level popularity is just not something that you can count on. I don’t think you can count on getting to the level of popularity we’ve gotten to.

So I think, moving forward, my goal is to find ways that I can work with the system. And I think that if they have a screenplay and a treatment, and they’re like, “All right. We can agree that this is good enough that if we have to make any changes to this, we will let you have approval.” Having them say, “Brandon has to have creative control” without any screenplay or thing like that, no one’s ever gonna give me. So that’s the main goal of this. The main goal is to say, “Here is Brandon’s vision. Are you willing to make Brandon’s vision as a film?”

Brandon Sanderson

Where are Brandon Sanderson properties as far as other media are concerned? So let's run down them.

Fox has The Reckoners. I don't know how being bought by Disney affects that at all. But they have been very enthusiastic about The Reckoners for many years, and I hope that they will continue to be.

MGM has Snapshot, which is lesser-known, it's like a cross between The Matrix and Se7en. It's very different for me. They are very far along, they have a really excellent screenplay, and that one, I wouldn't be surprised if that's the first one that gets made. Which would be kind of odd if the first Brandon Sanderson property is a serial killer thriller.

Speaking of thrillers, Legion is owned by a group, they just bought it this summer, and last I heard they were working on showrunners and had somebody interested, so that is in a good place also. We probably have to change the name, now that Marvel has a Legion show.

The Cosmere is owned by DMG Entertainment, whom I love. They have been great to work with. The Cosmere is very difficult to adapt. They have been good partners in trying to find the right way to adapt that. Nothing is off the table. I still think it's most likely that we would see Stormlight as a television show, Mistborn as a movie, but these things are still in the foundational stages, just of getting screenplays that we like and things like that.

I think that is everything right now. I'll do a bigger thing on my blog in December where I catch anyone up.

Any more board games? There was a Stormlight board game, and we have backed off on that because some of the early things we got, we didn't like the direction it was going. We have really liked the two board games that have come out. They have both turned out really well. They have both fulfilled their Kickstarter requirements, which is one of our number one things, we don't want to have that hanging over people. So they've both been really great partners. I still would like to see Stormlight, we were going to do a Shattered Plains style game. We'll see how that goes.

Questioner

What is the status of the White Sand graphic novel?

Brandon Sanderson

White Sand graphic novel. Let me run down the big list of things people are waiting for. So, White Sand graphic novel is on the good list, that's going really well. The author we had adapt it was fantastic and the artist is doing a great job. We're doing it in eighteen issues. However, because the people with The Wheel of Time (I don't know if any of you guys bought those graphic novels) but they released those individually, people bought subscriptions up front and then it took them forever to deliver on those. Because I have been burnt by that I said "You can't release any of the issues until you have a certain amount done". So because of that, they just decided they would release them only as graphic novels. So they're doing six-issue chunks. So it's kind of weird, there's eighteen issues, but really it's three books of six issues, and they are working on issue number six right now to release the first chunk next year. And we're very pleased with it.

So, the big list. I am working on Stormlight 3 right now, so you can follow on the progress bars. Once I'm done touring, which I've been doing for way too long, you'll start to see those inch up again, and if I finish it by May or June then it can come out next year. If I don't finish it by then it would be the following Spring. So that's what I'm working on right now.

In the queue we have the sequel to Shadows of Self coming out in January and we have the last of The Reckoners, and that is coming out in February. That's a little too close, I wish they hadn't scheduled them like that, but I'm not in charge when they put the books. 

After I write Stormlight 3 my goal is to write a new book that's kind of in the teen-ish-- it's kind of hard because Steelheart here is not published by a teen publisher, the only one published by a teen publisher here is Rithmatist. But something for the Steelheart-- like older teen/young adult-ish, crazy, wacky things like that; I've signed a contract on that. So that'll be my next project. 

Then I'm going to do Rithmatist 2, then I'm going to do Wax and Wayne 4, which is the last of that sequence. Then I'm going to do Stormlight 4.

If the book you're waiting for is not in that list then it's going to come after Stormlight 4 so don't hold your breath.

Mistborn videogame is basically vaporware at this point I'm afraid. I love the guys that are making it. They're still working on it, they still plan to release it. I haven't seen even a demo or early footage or anything like that, so I'm not certain they'll be able to do anything and you guys should not hold your breath on that.

So, movies, I've sold Mistborn, The Emperor's Soul and Steelheart, all are in production, but that doesn't mean anything in Hollywood, in production can mean anything. None of them have started filming yet. Until something starts filming you should assume that it's a hopeful dream. Those are the hopeful dreams that people are paying me a lot of money for. So, there you are.

Brandon Sanderson

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.

Brandon Sanderson

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

Ted Bade

As an author, you can completely control all aspects of a story, the environment, and the characters in the story. When you move to a game realm, there will be many limitations and aspects you can't or won't control. How important is it to get "right" the following aspects of your fantasy realm? What do you plan to do to ensure they work?

a. The look and feel of the environment, which includes environmental sounds, and music

b. Character dialogue and interactions, as well as NPC dialogue and interactions

c. The storyline and sequences of events

d. Other aspects very important to you

Brandon Sanderson

This is quite an in-depth question. Certainly the things you mentioned, that you can't control all aspects of the story, are a consideration. The bigger thing for me with a video game, that is different from my own work, is that a video game is a collaboration. A novel in most cases is a solo work, certainly with the help of talented editing staff and art direction and things like that—but at the end of the day, I can do the bulk of the work on the book myself. On a video game, I can't. Nor would I want to.

 

On a video game, you take a step toward films where you need to have people who you trust working on aspects of the game that you yourself can't do. Certainly the look and feel and all these things you're talking about—I can oversee them, and Little Orbit has been great; they're showing me concept art and things and saying, do you like this or do you like this? What feels more like Mistborn to you? But at the end of the day, I have to let them do their job, which is program a great game, and come up with an engaging and fun system.

 

I can have some input in it myself, such as the dialogue and story—I can step in and say hey, I know how to do this; let me do it. So I have done that for this game—I've stepped in and I'm writing the dialogue and the story myself, and I'm going to try to make it the best it can be to match Mistborn. From there I'm working with and trusting people whose job it is to make great games be great.

Brandon Sanderson

PART ONE: MY YEAR

Like always, I keep tabs on everything I did through the year via a spreadsheet.  Usually this lists all of my trips and tours also–but there were barely any of those this year!  So, we’ll just talk about the books I worked on.

January 1st-March 31st: Cytonic and Sunreach

I spent the bulk of the first part of my year in the Cytoverse, working hard on two stories that are both now out!  Cytonic, book three in the Skyward series, came out last month.  (Thanks to all who attended the convention and who supported the book its first few weeks!  We outsold the previous book in the same timeframe, which is one of the most important metrics for book sales.)

In case you haven’t seen yet, I also co-wrote a series of novellas in the Skyward series with my good friend Janci Patterson.  The first two of those are out, with the third one (starring Jorgen!) coming right after Christmas.  I hope you’ll check them out.  They are a lot of fun, and add some important backstory to what other characters are doing during the events of Cytonic.

April 1st – September 20th: The Lost Metal, ReDawn, Evershore

Most of this extended stretch was spent working on the final book of the Wax and Wayne series of Mistborn books.  (It should be out for Christmas 2022.)  This was a longer write than the other Wax and Wayne books, as I increased the book-length by 50% (and gave the story a little more outlining time) to make certain to wrap up things in style.

While working on that, I also managed to get work done on the other two of the three novellas I wrote with Janci.  Basically, anytime I needed a break from Wax and Wayne there was something else to work on, so I had a nice rhythm here.  I dove right into the 2.0 of Wax and Wayne once the 1.0 was done, and the beta reads finished up in November!

September 21st-October 31st: Various Revisions and Consulting

After getting that second Wax and Wayne draft done, there were just a lot of little things demanding my attention that I’d been putting off.  Some Wheel of Time scripts, some work on the various film projects for my other series, and loose ends of various other things I needed to do.

All this kept me busy until near the end of October, and so I decided to spin my heels a little until I could do NaNoWriMo officially, starting November 1st.  Which takes us to…

November 1st – End of December: Defiant

One of my goals this year was to tie up both Wax and Wayne and the Skyward series (at least the Spensa arc of it, see below.)  Assuming I can finish up this month strongly, I should be able to do that–as far as rough drafts are concerned.  I’ll still need to do some revisions on Defiant next year, but all of the actual writing should be finished–making both of these series a wrap.

That leaves me free to tackle Stormlight Five all next year!

Questioner

We have to wrap up, I think, so everyone here is going to kill me if I don't ask you about DMG which acquired the rights to your Cosmere. I wanted to ask how are you feeling about this, do you know at this stage how involved are you going to be? I heard you mentioned that the best adaptations are those that are done by people, just by leaving them do their thing, but I was also asking myself, in regards to this, if you're planning on any other cross-media stories? We have White Sand, we have whatever happened to Mistborn: Birthright. I wanted to ask about that too, because...

Brandon Sanderson

So, we'll start with Mistborn: Birthright. Unfortunately, it is dead, sorry. This was a video game we worked on for many years, and it just is not going to happen. As for other cross-media stories, I am very open to doing more. It will depend on how White Sand is received, and whether I can do other video game projects that look like they will work. As for the film, I spent a long time interviewing a lot of different people before we decided to go with DMG. I chose them primarily because I feel they understand the Cosmere, and are willing to approach it as a whole, as opposed to little pieces of something not connected. How much I'll be involved really remains to be seen. They've promised to let me be involved, they gave me a fancy title, we will see once the film's actually in production. I have every reason to believe that they will involve me, and so far they have done so, but I don't want to be the one directing or writing these films, because I am not a director or a screenwriter.

Questioner/Translator

There are games, comic books and films had been made or are being made based on your novels. How do you coordinate work so there are no, lets say, errors in it and tell something about <that experience>

Brandon Sanderson

Coordinating to make sure there are no errors: I wish that Hollywood would let us do that! Mostly they kinda do what they want to do and then send us what they've come up with. I am working with one company right now that seems like that they are willing to listen a little bit better.

<Throughout> other things that hasn't been particularly difficult. <For> the RPG, I am a gamer, I love RPG and so it's very easy to work with them. In fact where it came from is they came to one of my signings and said "Do you want to make an RPG?" and I'm like "Yeah, I want to make an RPG!". So we had some brainstorming sessions where I told them my favorite styles of game and they built rules that they've thought to match Mistborn and kinds of things I wanted.

We'll see what happens with the movies. They are in development and they're very early in the process.

Questioner

Are the graphic novels of Dark One still supposed to be prequels to the eventual television series? Or will the television series be an adaptation of the graphic novel?

Brandon Sanderson

If I get my way, television series is an adaptation of the graphic novel. Let me talk you all through the long history of Dark One. I, as you might know, I really like to take sort of modernist, deconstructionist looks at the epic fantasy core idea, the Hero’s Journey you might call it, the epic fantasy of it. And in a lot of ways, you might call this my foundational myth. The idea of the young man born to a peasant family who has a noble heritage, who goes on a question, becomes a king, gets magic objects, saves the world. Like, this is the story of the David Eddings, The Wheel of Time, Memory Sorrow and Thorn, Sword of Shannara. I read a ton of these works when I was a young man, and it is kind of the core fantasy myth of the ‘70s and ‘80s. Fantasy really doesn’t do as much of that anymore, ‘cause it was done quite a bit and quite well. But I really like looking at that and deconstructing it. It’s not religious, but it’s very similar to that for me, the thing that kind of is my origin as a writer.

So, like you see authors deconstructing, in the Middle Ages or even the Renaissance and later, the Adam and Eve story, you see me deconstructing the heroic journey in fantasy. Mistborn was doing this to an extent. And after doing Mistborn, I found that I really wanted to explore another version of this, and it started to take shape in my mind as just being called Dark One. Obviously a nod to The Wheel of Time, but also a nod to a lot of these stories that have the Dark Lord who is the antagonist of this sort of monomyth. And I really wanted to do a story about, “What if you found out that instead of being prophesied to be Harry Potter, there was a prophecy that you would become Voldemort. And how did you deal with that? And what did that do to your life?”

Well, I tried this story multiple times until I cracked it. The first version I can remember writing was in its own complete fantasy world, and was a Young Adult/Middle Grade attempt at it. This is because Harry Potter was one of the inspirations for it, so it had a very Harry Potter-esque sort of… I was kind of using some of J.K. Rowling’s prose constructions. Not, hopefully, plagiarizing them, but looking at how she wrote and trying to do something a little more light-hearted and whimsical, like hers. And it just did not work. Just completely flopped on its face. Though, it’s the first place that Pattern, that eventually ended up in Stormlight Archive, showed up. Something like Pattern. And I set that aside and left it for a few years.

A few years, I came back to it and said, “What if I did this as a portal fantasy?” Fantasy where you start on Earth, and then transition to the fantasy world. And I tried it again, and I got, like, two or three chapters in, and it still was not working. It felt better. I felt like it made a step forward, but I had not cracked it. It was still a Middle Grade story; young YA, old Middle Grade, kind of like where Alcatraz sits.

I left it alone again.  Years later, this would be, like, 2014 maybe, I thought, “What if I tried setting this in the cosmere?” I moved it to the cosmere. Go three or four chapters in. And it still didn’t work. This is not unusual. I mean, this is the most unusual one for me in that it’s gone on the longest. But a lot of times, you try something and it just doesn’t feel right, doesn’t work. So I set it aside yet again.

And when I came back to it, the big change I made in my brain is that I’m like, “I think that the problem is that this is a book for someone who grew up reading these stories, but who is not still themselves a young person who hasn’t experienced these stories.” This story works way better if you share, kind of, in this foundational myth that I love so much. So that you can understand how it’s kind of trying to deconstruct it. And I realized I needed to write this as an adult property, not a Middle Grade. Or, if YA, it had to be old YA.

And that’s when I sat down and I wrote this treatment that really, finally, worked. When I say “treatment,” it is the plot outline, pretty detailed plot outline. And at that point, I decided it would probably work best as a television show. And I outlined it episode-by-episode. I went really into detail on all the characters and things, and it just sang to me. It worked; it really clicked. And that’s when I said, “Let’s try to get this made.”

So I took it to Hollywood, and there was a lot of excitement immediately surrounding it. Didn’t go anywhere, didn’t go anywhere… then, some things happened with Random House, my publisher, and one of the people that worked in their film department got ahold of the treatment and was like, “Wow, this is amazing. Let’s do something with this.” And then it just started to go “Bam, bam, bam, bam, bam.” That is when I decided to do the graphic novel.

So, the graphic novel is taking my original outline for the TV show, which does include chunks of dialogue and things like that, and doing it as a graphic novel format. Meanwhile, the television show started to take on a different life. This was when Joe Michael Straczynski was brought on, and he had some things to add that are very cool. But the television show really started to drift away from the original property. So we’re still kind of in talks about how much this will look like the graphic novel. But the graphic novel kind of turned into the way to express my vision for what this would be.

I don’t know what will happen with the TV show. I honestly can’t say. Joe is great to work with. I really like Joe. I am hopeful that something very cool will come out of it. It might look completely different. And in fact, there’s a chance we will rename the project property Joe and I are working on into something else, and call it something else. Who knows. Hollywood is weird, as we probably all already know.

Regardless, this is my vision. Graphic novel is not the prequel. Graphic novel is the actual outline that I wrote, taken and adapted really faithfully. They did a spectacular job with this. They focus a little more on Mirandus. The actual outline has more with Lin, Paul’s mom, and Mr. Caligo. And they focused their attention a little more on Mirandus. It’s not like they added anything; it’s just that there was too much there, I think. (Because it was meant to be a full season of a television show.) And so they focused their attention there. But Lin is still in it. There’s still plenty, and the scenes that are still there are all ones I had in the outline.

If I do a novel, it would be the prequel to this. Because the prequel, not giving any spoiler stuff, would be the thing that would work in an epic fantasy novel sort of form.

There’s the short version of the long history of Dark One.