Leyes de la magia de Sanderson

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Brandon has so far written three articles pertaining to the usage of magic in writing.

Sanderson's First Law

An author's ability to solve conflict with magic is directly proportional to how well the reader understands said magic.

If characters (especially viewpoint characters) can solve a problem by using magic, the reader should be made to understand how that magic works. Otherwise, the magic constitudes a 'deus ex machina.'

Ideally, the magic is explained to the reader before it is used to reslove a conflict. Much like a sword or a large pile of money, magic is a useful resource. Understanding the resources available to a character helps the reader understand the character's actions. It avoids questions like, "Where did he get that?" or "How did he do that?"

"Mysterious magic" (or "Soft Magic"), which has no clearly defined rules, should not solve major problems, although it may create them.

Thus magic systems, like the science in Sci-Fi, can be categorized as Hard or Soft.

• Soft Magic
  • Magic is included in the stories to create a sense of wonder. It is mysterious, awe-inspiring, and unpredictable.
  • Magic is not governed by rules, limitations, or strict definitions. The the capabilities of the magic are a mystery to the reader, and to most characters.
  • Brandon has offered J.R.R. Tolkien and George R.R. Martin as examples of successful writers who use soft magic. (Whether the double-R middle initial is a requirement for this remains a mystery.)
• Hard Magic
  • Magic is a plot device that writers can use to enhance story and character.
  • Magic is a tool that characters can use to solve their problems.
  • The capabilities and limitations of magic are precisely defined. Skilled magic-users are often those with an advanced understanding of magic's underlying principles.
  • Brandon places Isaac Asimov's three laws on this side of the spectrum, as well as the majority of comic-book superheroes. Additionally, most of Brandon's own magic systems are exceedingly hard.
• Brandon places J.K. Rowling right in the middle of Soft and Hard magic, noting that her magic has specific rules that are followed, but that the reader is never sure of the full capabilities.

Sanderson's Second Law

Limitations > Power

The limitations of a magic system are more interesting than its capabilities. What the magic can't do is more interesting than what it can.

The limits of magic (including the cost of using it) are a source of conflict. They provide challenges for the characters to solve, and problems to overcome. If magic can simply and easily solve any problem, a story becomes boring. But when magic has a cost, or when it can only be used in certain situations, it becomes a source of dramatic tension.

Brandon offers Superman as an example. Superman's numerous and virtually unlimited superpowers make him boring; he can easily defeat any opponent, and solve many problems in the blink of an eye. A bad guy appears, superman quickly defeats him, and then the story is over. But when the bad guy wears armor made of Kryptonite, suddenly he poses a threat. Superman faces a challenge. There is conflict, and dramatic tension.

One might also pit Superman against political corruption, or an emotional threat, like a betrayal. These are problems he can't solve with his powers. What makes Superman's stories compelling is not his powers, but his weaknesses: kryptonite, and his code of ethics.

Brandon also proposes that limitations can make a magic system more original and exciting. Almost every conceivable magical power has already been used in fiction, but applying new limitations can make a power seem novel again. For example, all the powers of Allomancy can be found in popular comic books, but the need to burn ingested metals is an intriguing and inventive twist.

• Limitations can be categorized as follows:
  • Definition - what the magic cannot do.
  • Weakness - what the power is vulnerable to.
  • Cost - the inherent cost of using magic.
  • Ability - who can use magic, and how they acquire the distinction.
  • Other (at the creative author's discretion)

Brandon also notes that this principle doesn't apply just to developing magic systems, but is also a great story-telling concept.

Sanderson's Third Law

Expand on what you have already, before you add something new.

This rule is designed to keep systems of magic from sprawling out of control, while ensuring that magic systems are as deeply developed as possible.

"A brilliant magic system for a book is less often one with a thousand different powers and abilities -- and is more often a magic system with relatively few powers that the author has considered in depth."

• Magic is an integral part of worldbuilding.
  • A magic system interacts with many different parts of the world -- domestic life, industry, warfare, religion. How does it affect these things? How might it shape cultures and social mores?
  • Any magic can be used in many different ways, and solve many different problems. Realistically, people will explore every possibility.

Brandon offers several specific recommendations:

• Extrapolate
  • Think about how the changes you've made to the world will impact the world as a whole.
    • What happens when a wizard converts to Christianity?
    • What happens to warfare when a magic can create food out of thin air, enabling much more mobile armies?
    • What happens to gender dynamics if magic causes all of the men who use it to go insane?
• Interconnect
  • Tie powers, cultures and themes together.
    • How can I connect powers so that they work together?
• Streamline
  • Look at cultures, magics and characters and ask, "Where can I combine these?"
  • It's better to create one magic system with multiple uses or interpretations rather than 10 specific magic systems.

Notes

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