On the Druidverse and Sanderson’s Three Laws of Magic
Ah, magic systems… so fun to play with, and so easy to screw up.
I recently read an article on Writer’s Write about Brandon Sanderson’s Three Laws of Magic (also seen here on Sanderson’s website), and it got me thinking about how well magic systems in the Druidverse® conform to Sanderson’s rules.
Let’s break down each law, then I’ll talk about how they show up—sometimes intentionally, sometimes instinctively—in the magic systems of my Druidverse novels.
Law #1: An Author’s Ability to Solve Conflict with Magic is Directly Proportional to How Well the Reader Understands Said Magic.
Meaning, the better the author explains how magic works, the better his characters can use it to solve problems in interesting ways.
I believe Sanderson made this his first rule for a reason. Successful storytelling relies, in large part, on transporting the reader to new places they previously did not realize they wished to go.
This is why fantasy authors must be careful that they don’t use magic in ways that pull the reader out of the story.
Fantasy readers don’t mind a protagonist who solves problems with magic, as that’s what they came for in the first place. However, they do mind magic being used to solve problems in ways that feel arbitrary.
If a wizard (or druid) suddenly fixes everything with a previoulsy unknown spell, that’s not good storytelling. It’s a narrative rug-pull, and it will destroy story immersion for your readers.
How This Shows Up in the Druidverse
In the Druidverse, magic has rules.
From the very beginning, readers learn things like:
- Magic exacts a cost (physical, emotional, or spiritual)
- Magic is energetic—it must be powered and channeled
- Finally, traditional magic bends the laws of nature, while druidry works in harmony with those same laws
I established these rules early and reinforced them throughout the series. Thus, I’m able to use magic to solve major conflicts without it feeling cheap.
When Colin pulls off something truly impressive by applying magic to the laws of nature, it works because the reader already understands:
- What magic can do
- What it can’t
- What it will cost him
Providing the reader with an understanding of how magic works is what earns the payoff.
Law #2: Limitations > Powers
In other words, limitations make powers more interesting to readers.
Easy is boring. Unlimited magic is boring. Struggle makes a story work.
The more powerful a character is, the more carefully constrained their power needs to be—else, tension evaporates. As Colin has grown in power, I’ve had to find ways to limit his magical abilities.
How This Shows Up in the Druidverse
Druidverse magic is full of limitations:
- Spells take time, preparation, and in some cases, raw materials (especially druidry)
- For mortal magicians, the energy they use to power spells is not limitless
- Fae magic always comes with strings attached
- All beings can (potentially) be cut off from their magic source
- Using powerful magic too freely attracts unwanted attention (time magic in particular)
Even experienced druids can’t just sling spells endlessly. Fatigue, backlash, moral consequences, and political fallout all come into play when Colin and other characters use magic.
In practical storytelling terms, that means:
- Colin can’t magic his way out of every fight
- He can (and often does) run out of magic
- Sometimes the smartest move is not using magic at all
Those limitations force characters to think, improvise, and occasionally fail—which is where good storytelling lies.
Law #3: Expand What You Have Before Adding Something New
Meaning, don’t add new magic until you’ve fully explored the implications of what already exists.
This law is all about depth over breadth.
Instead of constantly introducing brand-new powers, Sanderson argues that you should squeeze every ounce of story potential out of your existing magic system first.
How This Shows Up in the Druidverse
I’ve been writing Druidverse novels for a long time now, and as the world has grown, I’ve tried to dig deeper rather than wider.
Instead of inventing a brand-new spell system every few books, I ask questions like:
- How can Colin use simple and “weak” magic to fight more powerful antagonists?
- How can Colin apply the laws of nature to cast druidic spells in new and interesting ways?
- What are the consequences of abusing very powerful magic (like time travel)?
- What powers would a druid need to cultivate to even the playing field against vampires, werewolves, fae, and gods?
- And, how does this all lead to magic being scaled up as the series continues?
Answering such questions keeps the magical story elements feeling alive and interesting as Colin’s journey continues. It’s also allowed me to avoid turning the series into a smorgasbord of shiny new powers with every installment.
Why These Laws Matter (Especially for Long Series)
Sanderson’s Three Laws aren’t about restriction, but building trust with the reader.
They’re designed to:
- Build reader confidence
- Avoid narrative deus ex machina
- Maintain tension even in high-magic worlds
- Keep power escalation from spiraling out of control
And for long-running shared universes like the Druidverse? Such rules are essential to making them work.
Personally, I feel Sanderson is correct in believing that magic should feel earned, costly, and consistent, even when it’s mystical, powerful, and terrifying.
Ultimately, his rules serve to keep his readers engaged. That’s why they stick with him, book after book. Hopefully, I’ve managed to do the same with my Druidverse novels.