Brandon Sanderson Explains the Fantasy Mistake That Doomed Game of Thrones

Image: HBO

Brandon Sanderson stands as a titan in contemporary fantasy literature. Beyond his prolific output as an author and publisher, he is a remarkably accessible intellectual. Somehow, he manages to balance expanding his expansive Cosmere universe on an almost annual basis with delivering insightful lectures on Tolkien’s intricate magic systems. It’s precisely why many readers look to him for guidance on the craft of high-productivity storytelling.

In a recent YouTube conversation with fellow fantasy novelist Joe Abercrombie, the two delved deep into the nuances of their craft. Inevitably, the conversation circled back to Game of Thrones, which Sanderson considers a quintessential case study in the inherent strengths and pitfalls of Epic Fantasy. “I cut my teeth on those massive epics. In many ways, it’s the most natural vessel for fantasy; it grants you the breathing room to truly inhabit a world and lose yourself in its geography,” he noted. “That immersion is a huge part of why Game of Thrones resonated so profoundly with audiences.”

When the topic shifted to the drawbacks of such sprawling narratives, Sanderson offered a candid take based on personal struggle, acknowledging that the crushing weight of burnout often forces him to step away from his manuscripts—sometimes as late as the tenth revision.

Image: HBO

“There is a peril inherent to epic fantasy. It begins as a deeply personal character study, but if you lose your footing, the scale can overwhelm the intimacy,” Sanderson explained. “Authors often get distracted by secondary characters later in the game—a trend we saw reflected in both Game of Thrones and The Wheel of Time. Maintaining that sense of personal stakes amidst such grand scope remains a monumental challenge for the genre.”

This recurring focus on George R.R. Martin’s work echoes a discussion they held in 2025 regarding Abercrombie’s then-new release, The Devils. During that exchange, Sanderson probed into the utility of world maps in fiction. “I’ve heard you have a distaste for maps—is that true?” he asked.

“I’m actually quite fond of them,” Abercrombie countered. “But they have to be utilized thoughtfully. I take issue with the lazy inclusion of a map that doesn’t actually serve the narrative. When I started The First Law, I was focused on a tight, character-driven perspective. Starting with a god’s-eye view of the entire world felt tonally dissonant to the intimate story I wanted to tell.”

Image: HBO

While maps can enrich the reader’s immersion, they also impose rigid constraints on the author, Sanderson noted. They lend an air of authenticity that can inadvertently create logistical headaches. “Once you define the geography on paper, you’re bound by it. We saw this in later seasons of Game of Thrones, where the travel logistics became a point of contention for viewers: ‘Wait, how did they cross the map that quickly?’” he remarked. “When you prioritize rigid realism, you can paint yourself into a corner. That said, I still adore those stories.”

Martin has frequently been vocal about the difficulty of maintaining narrative cohesion within the expansive scope of A Song of Ice and Fire. Originally conceived as a seven-book saga, five volumes have been released to date, with the sixth, The Winds of Winter, in a protracted state of development spanning over 15 years. The HBO series overtaking the source material certainly added a layer of complexity to that journey.

Sanderson’s persistent fixation on Game of Thrones may stem from his own endeavor to adapt his sprawling Cosmere universe for the screen. Having secured a massive partnership with Apple, he is currently developing the screenplay for a Mistborn feature film, with plans for a Stormlight Archive television series to follow. Given the trajectory of Martin’s work, Sanderson is surely keeping a watchful eye on the triumphs and tribulations of Westeros as he navigates his own adaptation process.

Source: Polygon