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Tag Archives: Magic Systems

Magic’s Pawn

One of my favorite styles of magic, though not often see is not a clever way for the protagonist to control the forces of magic, but a system where the forces of magic control the protagonist.  I suppose an ancient prophecy ca work kind of like this or a higher being giving direction, but I’m talking a more concrete and local form of control, yet exercised by a more abstract force.

The forces of magic involved don’t necessarily have to be sentient or intelligent in the way a human is or, even an animal although they could be.  Honestly, I think not being so makes the situation all the more interesting.

Think of the way a bee is involved in an ecosystem: generally as a pollinator.  Now imagine that a human (probably a mage or this world’s equivalent, but not necessarily) has been incorporated into the magical ecosystem of the world in the same way.  Some force of magic has evolved to encourage certain behaviors in human mages that are beneficial to the magic of the world that force of magic is part of.

Perhaps there is a cycle sort of like the water cycle that benefits from humanity in chaos, and so the magic has evolved ways to create that chaos through empowering some mage or person.  The specific actions of the person are irrelevant to the magic, as long as they cause a great upheaval.  The system may not even care if humans would describe this pawn of magic as “evil” or “good”.

Humanoid characters are almost always portrayed as exerting control over the magic of their world, but they are rarely shown to have been integrated into the system–as we are integrated into nature, even despite our control of it–despite what is portrayed in the world’s history as thousands or even millions of years of coexistence.

Where are the magical world equivalents of modern climate change?  There are apocalypses sort of like nuclear bomb analogs.  Mercedes Lackey’s Winds series, for example, with it’s effects on the world of the end of the war depicted in her Gryphon’s series.  But rarely if ever are there subtle build-ups of all the interference caused by humans harnessing magical forces.  Not even on the local level like the magical equivalent of the flooding and ecological damage caused by damning rivers, or the water shortages caused by different political entities failing to cooperate on usage rights of the local river.

I would love to read (or write!) some fantasy exploring a closer relationship between man and magic than simply human master and magical servant/slave.

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Magicology: Frames of Reference, Part 2

Last post (which was posted far too long ago) I rambled on about “frames of reference” and POV and how fantasy writers need to get with the program and come up with some useful jargon, and…  Well, you read the post, right?  Right?

Remember how I divided things into relative and absolute frames of reference?  The absolute frame is a simple concept; relative frames are not.  So today, I’m going to delve into just what I mean about multiple frames of reference and how they are useful. 

But first, I want to make an important distinction:  A “perspective” is a narrative device, a frame of reference is a world-building one.  A perspective in fiction is how a character relates to the story.  A frame of reference is how they relate to the world in which the story takes place.   There’s a difference.

(As far as I am concerned, a “point of view (POV)” is a structural device and refers to either first, second, or third person past, present or future.  A perspective is strictly which character (or the narrator) we are following at any given time.  Other writers may have different ideas.  That’s okay—whatever works for them.  In posts here, we will be using my definitions.)

Now, what makes relative frames of reference complicated is that each character has one—just like each person in the real world has their own ideas and opinions.  It’s not hard to get lost among all of these frames, and a common critique of bad characterization is that all the characters “felt/sounded the same”.  This is a very common criticism in regards to dialogue.  And there I am drifting off-topic.  Back to magic.

There are two main ways that the relative frames of reference can affect a character in regards to magic:

  1.  Their reaction to it-  Are they amazed, indifferent, or possibly contemptuous.  They could also be prejudiced or hostile or fawning or respectful.  The greater the difference in their knowledge of magic—whether theoretical, ethical, or emotional—the more likely their reaction is to be strong or intense.  If there’s less difference, they’ll have less of a response.  Pretty basic, right?  It’s actually more complicated than that, and in my next post, (which is already written this time, so no long wait), I’ll discuss character reaction to magic, and why many people have mistaken impressions as to what is and is not a realistic response.
  2. What they can do with it-  Are they good, gifted, hopeless, or helpless?  I know, this is fantasy.  There’s a lot of emotional symbolism involved in the narrative representation of magic.  But from a purely theoretical standpoint, knowledge is power.  No matter how strong you are (if this is aa consideration at all), you can’t win if you can’t do anything.  I’d like to leave the issue of “power vs. part of me” that often springs up here out of the discussion.  For now, “magic” isn’t “as natural as breathing (in the literal sense)”, but rather “something learned and perfected through study and training”… even if there are natural “gifts” involved.  The point here is that the more you know, the more you can do.  And knowing means learning, and learning means studying.  Hogwarts here we come! (Okay, not so much.)

You may have noticed from reading the above that knowledge is a very important part of the frame of reference.  The more you know, the more you can innovate.  (You can innovate knowing nothing as well, but you’re more likely to fry your brain—or at least fry something).

So, knowledge is power.  Right there you’ve discovered a way to make your fantasy magic system different from around 99% of the magic systems out there.  A great deal of fantasy (most bad, but some good) focuses on gaining “power” in the physical sense.  Increasing the characters’ “strength”.   It’s what a lot of fantasy writers and readers refer to as “RPG” fantasy.  And that paradigm makes sense for an RPG,  where learning new spells, and fighting, and acquiring new and better gear,  and grinding… er, “increasing your stats” (yeah, whatever) is all part of the fun.  But the fun in fantasy is the story, the conflict.  Eighteen swordfights in a row would be boring.

Now, magical conflict relies on a power differential.  But by the principle above, it’s perfectly acceptable to convert this to a knowledge differential.  You can’t hurl fireballs and call lightning if you don’t know the spell.  Lackey’s Herald Mage trilogy makes good use of this concept when one character is defeated (okay, killed) by a “mage-storm” which wears away at his magical shield.  But in a later book, we learn such an attack can be rendered ineffective if you leave the shield “un-grounded” and thus free to spin right along with the attack in question.

So, that explains how you can use the second effect of frames of reference.  The first is a bit tougher, and requires more subtlety and finesse.  I think it might be best to leave until the next post.

 
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Posted by on November 24, 2009 in Fantasy/Sci-fi, How To, Magic, Magicology, World-building, Writing

 

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Magicology: Frames of Reference, Part 1

Or, how to talk about something so that everyone is talking about the same thing

I was reading a lovely discussion on NaNo, and there was a bit of an issue with the definitions of “rules” versus “limitations”. I thought it might be interesting to look at how different terms are applied to fantasy magic systems and how we can harness and mold these terms to discuss magic systems more usefully.

See, the first problem with any discussion on world-building in general—and magic systems in particular—is the lack of a set of formalized terms. Writing has these: POV, Main Character, Protagonist, etc… This allows writers to talk meaningfully about different aspects of the “craft”. But what about for magic systems? What we have for this “craft” is a set of broadly defined terms re-tasked with specific meanings by every author or world-builder or game designer who makes use of them.

And this leads to a big fat mess. What is a “mage”? Someone who casts spells? Someone who manipulates energy? What is a “sorcerer”? Or a “charm”? Depends on the story we’re dealing with. But it shouldn’t have to. That’s one reason behind the prevalence of the neutral term “magic user” which ignores the magic system involved and focuses on the fact that the character in question can use magic. Anything else is just cosmetics. It’s pointless to talk about “sorcerers” when there are so many different conceptions out there. You can’t really talk about magic intelligently in this sort of environment.  Keep in mind this isn’t about how magic is presented in the story, it’s about writers and readers talk about magic.

So, how can we talk about magic systems more intelligently? We first have to establish frames of reference. Let’s begin by distinguishing between the way magic is talked about by the characters of a world–or relatively, and how it is talked about by world-builders–or absolutely.

So, in the absolute frame of reference, we have an absolute magic system (obviously). “Absolute magic system” refers to the workings of the magic as understood by the world-builder. The world-builder creates this system to regulate the magic. In the relative frame of reference, we have the “relative magic system”. This is the characters’ conception of how magic works. (And we can actually have several of these, but we’ll get to that in a later post.) Have we got this distinction down? I hope so.  It’s important.

The next step after establishing a frame of reference is to consider how magic is perceived within these frames:

Through the absolute frame, a magic system is an artificial construct whose structure is known and carefully crafted to affect the plot in the desired fashion, or not. The rules as laid down in a magic system are absolute knowledge—completely true and uncontestable. As the world-builder, you must know how the external magic system is structured, what the rules are.

Through the relative frame, a magic system is an organic and natural construct whose structure is unknown and must be explored to gain practical benefits. This structure is often in the form of rules or theories that best explain what is known of magic at the time. They are mutable and “true” only insofar as they achieve the desired effects. This is what the characters know about magic. The world-builder must also know how each characters relative magic system is structured.  It’s part of that “point of view” thing writers are always rambling on about.

A relative magic system is constructed inductively—that is, the characters will take the facts at their disposal and try to create a generalization that explains these facts, what would allow these occurrences? An external magic system can be constructed either inductively or deductively—that is, the world-builder takes some chosen general premise and to discover what occurrences would this allow? Some world-builders start out with their goals for the magic system, and some start out with general premises they wish to explore, and some start out with a bit of both.  But rather than taking what is true as their premises, world-builders will take what they want to be true as their premises.

So, with just this single distinction, we have already cleared up a great deal. You may be thinking: “What, that’s it? I could’ve told you that!” Maybe you could have. I have yet to see anyone adhere to this distinction, even though it would be incredibly useful in all those interminable discussions on whether magic systems should have rules or not. Well, I bet the characters have rules, even if you don’t let anyone peak at your own. Including the reader.

And it’s good for more than just discussion. Many fantasy stories rely on the clever hero to take the limited resources at her disposal and figure out a loophole to let her defeat the villain:

“No man can kill me!”

“I am no man.”

I’m sure you all recognize that little gem. (I may have paraphrased just a teensy bit…)

Now, if you break your own rules (like soooo many bad fantasy authors), you look like a cheater or an idiot, or perhaps just absent-minded. But it’s perfectly acceptable to manipulate the disconnect between your understanding of magic and the character’s.  Many authors use this for lesser hurdles as well. MC just learning how to use magic? You can slip a small hurdle in there that could be overcome if they knew all the rules… but maybe they don’t. Or maybe you want them to look clever so they figure it out. 

A great example of this is from Pat Rothfuss’  The Name of the Wind.  (I feel there are significant flaws in the rest of the book, but the magic system is pretty sound, and an interesting take on “scientific” magic.)  There are spoilers here, so you may wish to skip this part if you haven’t read the book.  The inciting incident in Kvothe’s pursuit of becoming an Arcanist is seeing a traveler defend himself with “real” magic, as opposed to “sympathy”.  This involves invoking the wind by using it’s true name, thus the title.  Kvothe, not realising this is true magic, attempts to imitate the trick by using the connection between his own breath and the wind.  This almost kills him (protags have all the luck, ne?  You or I probably would have died) and he gets a nice big lecture about stupidity:  “Don’t ever do something like that again!  Magic is daangerous! …etc”  Now, if one were to just throw in an actual consequence, that would be a pretty nice scene.

A little bonus for you all is that most of the material in this series can (and will) bend has been applied to any and every aspect of world-building. History, for instance. What people “know” happened and what actually happened are usually two (or three or four) very different things.  Which can lead to all sorts of interesting conflicts, like racism (well, okay, that’s a bit cliche) and heroes that really weren’t (Mistborn, anyone?) and false myths and prophecies.  For now, though, I’ll be applying them strictly to magic systems.   Next post, we will explore the “relative” frame of reference in more detail.

 

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Common Magic System Pros and Cons: Elemental Magic

Last post I wrote about the top ten ways to make me put your book back on the shelf. Or hit the back button—but that’s a whole other issue. Now we’re going to talk about common systems of magic and how they work or don’t work depending on how you use them.

First up is elemental magic, one of the most commonly used systems in fantasy, and also one of the most “simple”. It’s just throwing around the four five classical elements, right? Or three or seven, but the most common form uses five: Fire, Water, Wind, Earth, Spirit. I’ve listed them in order of perceived “coolosity” for when “cool” just doesn’t cut it which I define as “a scale running from ‘common amongst protagonists’ to ‘what kind of lame power is heart anyway?’”

You can’t deny fire is the coolest. Balefire, Balrogs, Firestorm, red-haired golden-eyed, fire-wielding necromancers… I’m sure I could name examples all night long and well past noon. And, of course, being its arch nemesis, water gets plenty of stage time as well. Frothing foaming river stallions, weather-magic, majestic water-falls and sacred ponds, rivers, and lakes. Wind gets in on the fun as well. At least, until you put a bullet through the mage. But since when has earth magic played the central role in a story? Why are people so afraid of earthquakes and mudslides? Maybe you get a few walking trees, or land-bonded kings, but fire is just that much flashier, I guess.

So, pros:

  1. Simple concept, easy to divide up and you can have the Five Man Band if you throw in a little “Spirit”.
  2. Easy conflict: Earth vs. Wind Fire vs. Water.
  3. Lots of Earth systems to draw inspiration from: Greek, Chinese, Arabic
  4. Combine elemental powers to get any damn effect you want. I’m looking at you, Mr. Jordan. Well, I would if he wasn’t RIP. I guess that means I’m looking at you, Mr. Sanderson. Not that you can help it much, but I need someone to point at.
  5. See Con # 1: Fertile ground for clever twists. Think about it.

Cons:

  1. How the hell do you put a price tag on it? Fatigue? Magical energy? Sympathy? Who knows.
  2. Gets cliché, and fast. If I see one more fire/water mage battle, I might have to gouge my eyes out.
  3. Never has even distribution between elements.
  4. Sexism: WoT again.
  5. Lame symbolism. Frisky fire mages are so last decade. And fiery fire mages. And fierce fire mages. And “cool-headed” water mages. And “flighty” wind elementals. And stolid earth mages—well, you know there would be if anyone actually used earth mages. (Don’t lie to yourself.) Mix it up people.

Please, somebody, come up with a fresh treatment. Use the Chinese system more. It’s better than another round of fire beats water beats fire beats everything else. And, last minute thought: alchemy is out. Just as cliché as straight elemental magic.

So, in the spirit of Limyaael, ways to make readers Atsiko like your elemental magic:

  1. Give some other elements besides fire and water the spot-light. Earth could be even more devastating against armies than fire. Wind could defend your coast kamikaze style. Or, you could do that thing that wind mages never think to do: suffocate the bastards.
  2. Give your system more than the old foursome. Wood and metal are both elements from the Chinese version of the system. I’d think rock and ice and sand could be culturally important to many peoples. Widen your scope. Be creative.
  3. But not “spirit”. Just don’t. How the heck is that even an “element”? Is the physical world made up of it? Not usually. Does it have a specific arena in which to work? No, it’s an excuse for whatever the hell the author wants. Set some limits and stick to ‘em, dang it.
  4. Integrate your system into the world. You know, this would be a great way to have a creative cost. Mess with the wind to make for fair-weather sailing? Hurricane nails important port town down the coast. Burn the enemy army up, well fine, but the forest they were hiding in is on fire. Or have a grassfire. Those are always fun. This isn’t hard, guys—it’s fun.
  5. Give me more deals between mages and elementals. Not Final Fantasy pacts, but a fair trade off. Maybe they want pretty flowers, or protection for their little pond. Or just a very-likely-to-be-called-in-at-a-crappy-time-for-the-hero favor. But make it some sort of price, not a freebie because your hero is so awesome.
  6. Find an appropriate cost. Sorry Tamora Pierce. Blood is interesting, but it doesn’t count as appropriate. (To be fair, her system isn’t strictly elemental.) Loved Pat Rothfuss’s method, though I think he could have at least thrown in some brain damage.
  7. Last one for now: Throw in some cool associations or symbolism. The Sun represents Fire. Boring. And planets don’t count either. I’ve always fancied flowers, or a musical instrument as an interesting association. Or maybe bone or blood or tears. Sort of like the Humours, but less body-fluidy. A little.

Okay, I’m done complaining. I really love elemental magic, if it’s a new portrayal. Shoot, I write a lot of stories with some form of it. But I’m tired of the same old same old. You don’t even really have to original—just be creative. And be sure to give me credit for the idea check yourself against what’s been written. Maybe it isn’t completely original—or maybe it is—but if it’s uncommon, it can still give your story a fresh feel.

 
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Posted by on November 6, 2009 in atsiko, Fantasy/Sci-fi, How To, Ideas, Magic, Writing

 

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How to Create a Believable Magic System

So, for the last two posts, I took a break from discussing magic to lay some basic groundwork on how stories function. To sum up:

Stories are kept interesting through conflict and suspense. These are created through tensionSuspense is built through external “story” tension, and conflict is built through internal “character” tension.

If you haven’t read those posts, I suggest you do. But if you understand what I just said, you’re good to go.

How do you create a believable magic system?

The first step is to decide on your goals for the magic. Ask yourself these basic questions:

  1. Does it create suspense? Perhaps the Dark Lord has the power to turn all the seasons to winter, and your characters are on the verge of starvation. Or maybe he can’t. But you as the writer must know which.
  2. Does it create conflict? You know vampires? And all the angst that fantasy has decided comes with being one? That’s magic-derived internal conflict. But magical conflict isn’t only about whether Louis wants to drink blood or not. How would you feel if you couldn’t give your daughter a proper burial because that bitch Carnival had sucked her dry? Or what if the dragons are taking back their country dammit, and themselves take whoever is getting in their way.
  3. Does it resolve suspense or conflict? For example, are your characters allowed to escape a situation by using magic? This is fireball country, people. Brutes or brains? Or both? Lavan Firestorm burned up an entire invading army that seemed destined to overrun Valdemar. And Dirk Proven saved the world by figuring out when the next eclipse would occur—and lying about it.
  4. Does it create a sense of wonder? Who wasn’t impressed by the Nazgul, or Shelob? But I bet you don’t know where they came from, or how their power works. Good thing it didn’t matter. Now, Lackey’s ley-lines were fun, and you might even have wanted to be able to use them, but were they mysterious and awe-inspiring? No. Just a way to move along the plot. And there’s nothing wrong with that. But is it what you—as an author—want?
  5. What themes will your magic express or explore? Yes, themes. I know you had enough of analyzing literature in high school. Or not. But whichever it was, this is still something you need to think about. Maybe you’re a panster, and you only know the themes after you’ve written the book. But they’re there all along, and it can be much simpler to follow them if you know what they are in the first place. Maybe you’re an environmentalist. Would you prefer a story about ghosts or trees that would rather not be cut down? What about the pollution of sacred sites? Ursula K. Leguin tackles this with the story of how one of the great cities used the Lips of Paor as a garbage dump. I bet they were really willing to help when our friend the Mender needed his powers temporarily removed.

Now that we’ve gone over choosing goals, maybe we should talk about how to achieve them. There are several things you need to do to make your magic meet your goals:

  1. Know what your magic is and what it can do. Yes, flying is cool, but if your character is a water mage, there’s not much they can do about it. Making them a wind mage is not the solution, folks. The solution is to make compromises. Your character needs to part the sea in chapter 4? Then they can’t fly over the Mountains of a Million Trolls in chapter eight. If your character can do anything, we aren’t going to have much of a story.
  2. Know what your magic is and what it costs. Maybe you can part seas and fly. But it’ll cost you your first-born child. And you’ve already got one. Maybe you know the character will pay for this later. But the reader has a much shorter attention span. The more you can do, the more—and sooner—it should cost you. Physically or mentally, it doesn’t matter. As long as it’s permanent at some point. You can trade the cost as many times as you want, as long as you don’t trade it out of existence.
  3. Make it hard to learn. If your hero can learn the equivalent of a bible’s worth of spells in four weeks, why isn’t everyone and their pet hydra killing bandits and enjoying the magical equivalent of total climate control? If they are, then why does a prophecy about a fire-flingin’ half-elf princess so incredible to them? You’ve got to work out all the consequences. After that, it’s okay to indulge in some judicious ignorance.

Those are the basics, guys. There are way too any ways to create magic systems for me to fill out every little nook and cranny of magic-making theory. Later, I’m going to do some in-depth critiques of various magic systems, pointing out all the places things went right, and all the places they went wrong. And maybe I’ll even make up a magic system just for the Chimney, to really show you how the process looks. Field-work is fun, but “show don’t tell” is a real pain. Why do you think we writers don’t do it?

 
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Posted by on October 29, 2009 in Fantasy/Sci-fi, How To, Ideas, Magic, Themes, Writing

 

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Magic’s Price

Or, On More Principles Tricks of Good Fantasy and How Authors Screw Up The Third Principle of Good Magic

Now, those of you in the know have probably noticed there was something missing in my previous post on balanced magic. That’s right, the most abused principle of good magic systems: The Principle of Appropriate Cost. Oh, and its corollary The Principle of Suitable Sacrifice.*

The most widely used excuse for poorly balanced magic systems is the “cost” of magic. Cost can be physical energy, physical backlash (as in Lackey’s brilliant cost of… headaches?**), life essence(whatever that is), actual years off of life, powered by nebulous energy which may or may not be renewable or unending, blood, human and animal sacrifice, deals with spirits or demons, and many others. After “limits”, cost is the most badly abused balancer in fantasy. Why? Because a lot of costs don’t really “cost” anything. Maybe, if the author is feeling really reasonable, cost can limit the duration or strength of magic, but it’s still transient. The mage is back after some bed rest and a good meal, ready to go at it again. Or they just snag the nearest ley-line.

Another form of abuse is one that violates my First Law of Delayed Gratification, which most simply translates to “the sooner, the better”. Sure, years off your life sounds bad, but it’s a long way into the future. For example, how many teenagers do you know who would sacrifice ten years of life in the future for the chance to fly or throw fireballs now? Or get whatever wish they want most met? How many adults like that do you know? Probably enough to understand my point. Just like a newly married couple handing over their first-born child. “That’s okay. We don’t want kids.” Right… Readers like costs now, or at least costs that they know about. Writers, don’t wait too long to bring on the pain. Or we will bring on the wall.

There are all sorts of great costs that magic could have, but authors afraid to really hurt their characters will not use them. Happily-ever-after is fine, but have them earn it. There’s no conflict in an obvious decision, authors. Characters should suffer, have regrets, feel guilty, make tough choices. And while we’re at it, no fake costs. No fair bringing a character back to life after they’ve sacrificed it to drive the magic. No, Ms. Lackey, not even once. Or as a ghost. Paid costs should stay paid–unless the magic is undone in return… and it matters that it is.

Another thing that is commonly ignored is external costs. That is, the cost to other people of the character using their magic. Call up an earth quake to trap the villains in a rockslide? What about the village a mile down the road? Is it still standing after? Magic nuke that destroys the enemy? What about the innocents caught in its path? Burn down the vineyard the enemy is hiding in? How is the owner going to pay his taxes? Everything has consequences, and those consequences have consequences. Drain this node and the one down the road, and how will the next village’s magic dam stop the flood? But now we’re leaking into logical effects. More on those later.

Summation: Make your costs cost—permanently.

*As in, headaches don’t make fire.  And sacrificing squirrels doesn’t defeat the Dark Lord.  Now, the hero(ine)’s Love Interest… that could do it.

**I love Lackey, really. Not the best fantasy I’ve ever read, sure, but I was using light sarcasm; I don’t bite.  And she gets it right, sometimes.  Lavan Firestorm, anyone?

Next post: On Setting Limits and Why Breaking Them is Bad. Bad. Bad!

 
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Posted by on October 20, 2009 in Fantasy/Sci-fi, How To, Ideas, Magic, Writing

 

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The Inverse Law of Utility and Understanding

(and many other First Laws Principles of Good Fantasy)

One thing I mentioned in my previous post but did not expand upon was my “Inverse Law of Utility and Understanding.” That is:  “A character’s ability to solve a conflict with magic is inversely proportional to how well the character understands said magic.”  (I’m looking at you, Eragon!)  Basically, the more you know, the more you fuck up. 

 

It’s the corollary to Atsiko’s First Law of Magic. Which reads: “An author’s ability to solve a conflict with magic is inversely proportional to how well the reader understands said magic.” Because I am egotistical like that… and meta.  Basically, this Law says that the more a reader understands your magic system, the less you can get away with the less useful it will be in solving conflicts(, because you will be working within more limits).  Instead, you will have to rely on your characters’ actual heroic traits.*  In a paradoxical turn of events, my law and Mr. Sanderson’s are equally and simultaneously true.  I think mine is more useful from a plotting standpoint, while Mr. Sanderson’s is more useful from a construction standpoint.  Keep his in mind when you make your magic, and keep mine in mind when you use it.

 

What makes Atsiko’s Law relevant in fantasy is the Sliding Scale of Magic vs. Science.  (Some of you may have guessed already that I’ve spent too much time on TV Tropes lately.  I blame it on NaNoWriMo.)  Basically, the more you explain a magic system, the more of a pain in the ass it is to actually do something “magical” with it, or do anything at all, really.  (Science is not omnipotent.)  For authors who want their reader to experience a sense of wonder in their stories, this is a rather undesirable trait. 

 

It can also lead to “necessary” info-dumping–and plot holes.  The plot holes arise when an author wants to do something freakin’ awesome previously forbidden.  But here’s a little secret.  Readers will forgive anything as long as it fucks something up later.  They love that.  Let’s call it delayed consequences gratification.  Just don’t wait too long, or the book will already have hit the wall.**

 

Which leads us to our next writerly trick: the invisible rule.

 

That’s right.  Hidden rules.  Because hidden rules rule.  One of the best ways to create a mysterious and yet satisfying plot-buster magic system is to have rules and not tell anybody.  Seems counterintuitive, right?  If we don’t know the rules, how will they know you have them?  Doesn’t matter.  See, in the real world, we learn the rules by observing and formulation hypothesis.  We then apply these as laws until something disproves them.  You can do this in fantasy, too.  Of course, it’s much harder.  You have to avoid really big flashy stuff until the necessary rules have been introduced–but still meet the criteria for Retroactive Consistency we established in the last post.  For skilled plotters only.  But see Atsiko’s First Law.

 

Now we can address the two major ways in which you can create the illusion of balance through construction, without hemming yourself in with restrictive rules.  This is where you keep in mind Sanderson’s First Law and what you want your magic to do.  Here are your two main tools:

 

1. The Principle of Limited Application—the magic is not applicable to any situation, and can only meet a few, clearly-defined needs.  Robin Hobb’s magic in Soldier Son has limited applicability.  It cannot throw fireballs, or summon lightning, and while it appears quite flexible, it almost always approaches conflict indirectly.  No stand-offs here.  The “Great Ones” must find other ways to achieve their goals.  Allows for a greater sense of mystery.

 

2. The Principle of Limited Effect—the magic can apply to a broad range of situations, but there is a limit to how much power can be thrown at the problem.  Lackey’s magic system in Velgarth has limited effectiveness.  Some mages are more powerful than others, and even though you can do pretty much anything with it, if your lightning doesn’t pierce the opponents shields, you aren’t going to damage him.  Allows for a greater sense of tension.

 

Now, many authors use a combination of mysterious and scientific magic in their stories.  The more mysterious the magic is, the more the Principle of Limited Application is used to keep magic in check.  The magic is a step on the road to solving the conflict, but it requires the character to use other skills and assets to ultimately solve the problem.  Scientific systems can get away with a broader application, but they tend to rely more on the Principle of Limited Effect.  Yes, the character can throw a fireball, but you’re not going to obliterate the foe in one go.  Both of these Principles deal with solving the conflict, but the means to the end are quite different, and a reader can be happy or unhappy with both types of magic.

 

But there’s another writerly trick that allows you to have mystery and avoid deus ex machina.  The goal here is to create the illusion of logical progression, by adding an extra assumption just before the fact; ie, trick the reader into believing you foreshadowed this all along.  Word-games work great, as Tolkien proved.  “I am no man.”  (Any tropers out there have probably figured out I fall somewhere on the right of this, in regards to my view of “clever” fantasy authors.)

 

 

 

*Atsiko’s First Law of Protagonists:  “Magic does not make you a hero!  Or, magic does not make you Speshul, Snowflake–good character does.”

 

**Atsiko’s First Law of Delayed Gratification:  “The less gratification is delayed, the more gratifying it is.”

 

 

Next post:  On More Principles Tricks of Good Fantasy, or How Authors Screw Up The Third Principle of Good Magic

 
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Posted by on October 18, 2009 in Fantasy/Sci-fi, How To, Ideas, Magic, Writing

 

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