Lecture #5: Worldbuilding Part One — Brandon Sanderson on Writing Science Fiction and Fantasy

Brandon introduces the concept of Sanderson's Laws, which he developed while writing Mistborn. The first law relates to satisfyingly solving problems with magic based on how well the reader understands the magic system. He promises more details on the first law later.

Brandon reflects on whether he is being derivative by basically giving his Mistborn characters Superman's powers. He concludes that seeking to write enjoyable stories doesn't make you a hack. With experience, writers learn to make their work more original by adding their own perspective.

Brandon explains the continuum between hard magic systems with clear rules for problem solving and soft magic systems focused on a sense of wonder. He gives Lord of the Rings and Name of the Wind as examples using both types effectively.

Brandon notes that sometimes you don't want to satisfyingly solve problems with magic because you have other goals for the scene. He gives examples like introducing characters or building tension rather than neatly resolving conflict.

When asked about info dumps while explaining magic, Brandon describes overlapping two early Mistborn scenes in the screenplay to increase narrative tension while still explaining the magic system.

Brandon advises constructing scenes deliberately to highlight magic mechanics while still showing compelling characters and settings. This helps explain magic without boring info dumps.

Sanderson's First Law states: "Your ability to solve problems with magic in a satisfying way is directly proportional to how well the reader understands said magic." This relates to proper setup and payoff with foreshadowing.

Brandon clarifies Sanderson's First Law applies when you want a satisfying solution to a problem. If you have other goals for a scene, like introducing a character, you may break this law.

Brandon analyzes how Gandalf saving the day at Helm's Deep gives a more emotional payoff than Aragorn's save at Minas Tirith. It's because the first fulfilled an explicit promise, while the second avoided established consequences.

Brandon looks at why Superman is hard to write for but was done well in Lois and Clark. He notes Superman stories focus on problems his powers can't easily solve, like relationships, rather than feats of strength.

Brandon defines flaws in magic as gaps in understanding that effort can fix, limitations as unchangeable handicaps to work around, and costs as prices paid to use magic.

Brandon notes a common magic cost is expending a resource, like Stormlight. This can tie into economics and narratives around obtaining more resources to use magic.

Brandon gives an example magic with three wishes that all go horribly wrong as a way to craft a limited but impactful magic system that leads to an engaging horror story.

When asked about quirky, low-cost magic, Brandon says having powers disconnected from problem solving can work to characterize or inject humor, as long as they don't later create plot issues.

Sanderson's Second Law states that flaws, limitations and costs are more interesting than powers themselves when developing magic systems and create more storytelling potential.

When asked how to tell stories about lacking magical skill, Brandon says whether you frame it as a fixable flaw or unalterable limitation depends on if gaining skill aligns with the character's arc and the climax you envision.

Brandon describes reader hype over his next, more complex series suspecting it would have 30 magic systems. But bigger is not always better, which informs Sanderson's Third Law.

Brandon notes expansive fictional worlds hook some but get criticized as "an ocean that is an inch deep." Deepening select parts of a world resonates more than shallowly exploring all of it.

Sanderson's Third Law: "Before adding something new to your magic system or setting, see if you can instead expand what you already have." It's better to dig deeper on a few great ideas than pile on shallow additions.

Brandon notes Sanderson's Second Law about flaws and costs applying to characters too. Limitations likewise work for characterization. This reinforces focusing depth over breadth.

Brandon says rather than a thick worldbuilding iceberg, most writers create a hollow illusion that hints enough depth exists to satisfy readers without actually developing superfluous details.

Sanderson's Zeroeth Law reminds him that stories often start from whatever ideas seem coolest, like armor-wearing knights with giant swords, not meticulous magic systems or worldbuilding.