Diferencia entre revisiones de «Leyes de la magia de Sanderson»

[[Brandon]] has so far written three articles pertaining to the usage of magic in writing. These are rules Brandon himself utilizes in writing and are not actual “laws”"laws". These are guidelines Brandon uses when writing. They can also be used for writing in general not just for magic systems.{{qa ref|813|3|Are there other laws?|interview=Chattanooga Times|date=2012-06-20}}

"Mysterious magic" (or "soft magic"), which has no clearly defined rules, should, in genre fantasy, not solve problems, although it may ''create'' them. Soft magic in genre fantasy is usually used to create a sense of awe and wonder, and the workings of it aren’taren't known to the reader and most characters. Brandon has said that J.R.R. Tolkien and George R.R Martin’sMartin's use of magic is a good example of a soft magic system.

“Hard"Hard magic”magic" on the other hand has rules explicitly described by the author, meaning that the reader can understand the magic so that solving problems with it doesn’tdoesn't seem to “mystically"mystically make everything better”better". Instead, it’sit's the characters’characters' wit and experience that solves the problems. This makes magic a tool which can be used to solve problems and enhance the story. L.E. Modesitt Jr. and Melanie Rawn, according to Brandon, write in this way.

The middle ground is a situation where the reader knows some of the limits and possibilities of the magic but doesn’tdoesn't understand its workings. Brandon has cited the magic in J.K. Rowling’sRowling's Harry Potter series as a great example.

Great limitations on magic systems will do many things, they will for example create struggle. It’llIt'll make characters work for their goals and if the magic system is limited it’ll make the writer and the character have to be more clever. Sanderson offers his own Allomantic Steel and Iron as examples of this: They allow you telekinesis with a few limitations, the characters can only push or pull directly away or toward themselves and the objects must be made of metal. This forces characters to work harder and encourages better writing.

Limitations on what the magic can do can be simple - can’tcan't use when too tired, can only be used in the sunlight- but more complex ones are more interesting. Sanderson gives us an example “Will"Will and the Word”Word". A nearly limitless magic with nigh infinite power. You can make just about anything but cannot unmake or destroy. This limitation shapes the magic as a whole and tells the reader something of the magic's very nature.

Weaknesses and costs alike make a magic system more interesting. Weaknesses are generally harder to keep sensible and the kryptonite example has become a staple of easy storytelling. Brandon encourages writers to make up more interesting weaknesses than “Lose"Lose powers if x”x". Costs on the other hand are a great way of limiting a character and the use of the magic. In the [[Wheel of Time]] series the cost is that the users of the magic will slowly go insane, in the [[Stormlight Archives]] it’sit's the stormlight and in [[Mistborn]] it’sit's the metals.

== Sanderson's Zeroeth Law ==