Sanderson's First Law: Understanding Equals Magic
When he sat down to think through his own style of worldbuilding, Sanderson realized that there was a spectrum for fantasy novels. You have soft magic systems, which are perfectly valid (in fact, the founding father of modern fantasy himself, J.R.R. Tolkien, employs a lot of soft magic in The Lord of the Rings novels), and then you have hard magic systems, which leverage some guidelines from science fiction. Hard magic systems are often rooted in real-world science, or at least follow an internal logic system analogous to a sort of science.
Soft Magic Systems
In a soft magic system, the rules are deliberately obscure. Sanderson points to J.R.R. Tolkien as a quintessential example. In Tolkien's work, magic creates a sense of wonder and mystery. As Sanderson explains, "You rarely understand the capabilities of Wizards and their ilk. You, instead, spend your time identifying with the hobbits, who feel that they've been thrown into something much larger, and more dangerous, than themselves."
That fish-out-of-water feeling the hobbits experience is enhanced by the soft magic Gandalf displays in the books. (Now, you Tolkien nerds can’t hold us to the extra knowledge you gain about Gandalf in the supplementary texts, we’re just talking about what’s on the page in the main trilogy here. We’re keeping our eyes on you.
) That sense of wonder, intrigue, and even wariness is passed on to us as the readers.
Key characteristics of soft magic include:
- Maintaining a sense of wonder
- Creating narrative tension through uncertainty
- Using magic to complicate rather than solve problems (not always, but it can be a great use case)
Hard Magic Systems
In contrast, hard magic systems provide clear, understandable rules. Sanderson uses superhero narratives as a prime example. Take Spider-Man: readers know exactly what he can do—sense danger, possess superhuman strength, shoot webs, cling to walls.
As Sanderson notes, "We generally know exactly which powers Spider-man has and what they do." This clarity allows for more strategic and satisfying magical problem-solving.
Sanderson's Second Law: Limitations > Powers
This law challenges writers to focus on what characters cannot do, rather than what they can. Sanderson argues that a character's constraints are far more interesting than their abilities.
He illustrates this with Superman: "What makes Superman interesting? Two things: his code of ethics and his weakness to kryptonite."
Types of Magical Limitations
- Limitations: Fundamental constraints on magical abilities
- Weaknesses: Exploitable vulnerabilities
- Costs: Negative consequences of magical use
The Wheel of Time provides a compelling example. Male magic users gradually go insane—a cost that creates profound narrative tension and character depth.
Sanderson advises writers to view limitations as narrative opportunities: "An excellent limitation on a magic system will do several things:
- Force characters to work harder
- Increase narrative tension
- Add depth to worldbuilding
Sanderson's Third Law: Expand, Don't Add
In this law, Sanderson is looking out for you, ensuring you don’t catch "worldbuilder's disease"—the tendency to create increasingly complex magical systems without depth.
Sanderson cautions that "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."
Strategies for Magical Depth
1. Extrapolate: Explore broader implications of magical abilities.
Ask "What happens when..." questions.
Examine how magic impacts society, economics, and cultures
2. Interconnect: Tie magical systems to broader themes. Connect powers thematically
Connect powers thematically
Ensure magical elements serve the story's core narrative
3. Streamline: Consolidate magical elements
Combine existing magical concepts
Avoid unnecessary complexity
) That sense of wonder, intrigue, and even wariness is passed on to us as the readers.
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