So It Was Written

So It Shall Be Cannon

[drawulan]

Arien

[thatpaperlife]

Beautiful!

[alexanderwales]

I'm a big fan of wizards-as-programmers, but I think it's so much better when you lean into programming tropes.

A spell the wizard uses to light the group's campfire has an error somewhere in its depths, and sometimes it doesn't work at all. The wizard spends a lot of his time trying to track down the exact conditions that cause the failure.

The wizard is attempting to create a new spell that marries two older spells together, but while they were both written within the context of Zephyrus the Starweaver's foundational work, they each used a slightly different version, and untangling the collisions make a short project take months of work.

The wizard has grown too comfortable reusing old spells, and in particular, his teleportation spell keeps finding its components rearranged and remixed, its parts copied into a dozen different places in the spellbook. This is overall not actually a problem per se, but the party's rogue grows a bit concerned when the wizard's "drying spell" seems to just be a special case of teleportation where you teleport five feet to the left and leave the wetness behind.

A wizard is constantly fiddling with his spells, making minor tweaks and changes, getting them easier to cast, with better effects, adding bells and whistles. The "shelter for the night" spell includes a tea kettle that brings itself to a boil at dawn, which the wizard is inordinately pleased with. He reports on efficiency improvements to the indifference of anyone listening.

A different wizard immediately forgets all details of his spells after he's written them. He could not begin to tell you how any of it works, at least not without sitting down for a few hours or days to figure out how he set things up. The point is that it works, and once it does, the wizard can safely stop thinking about it.

Wizards enjoy each other's company, but you must be circumspect about spellwork. Having another wizard look through your spellbook makes you aware of every minor flaw, and you might not be able to answer questions about why a spell was written in a certain way, if you remember at all.

Wizards all have their own preferences as far as which scripts they write in, the formatting of their spellbook, its dimensions and material quality, and of course which famous wizards they've taken the most foundational knowledge from. The enlightened view is that all approaches have their strengths and weaknesses, but this has never stopped anyone from getting into a protracted argument.

Sometimes a wizard will sit down with an ancient tome attempting to find answers to a complicated problem, and finally find someone from across time who was trying to do the same thing, only for the final note to be "nevermind, fixed it".

[marlynnofmany]

Volume One is out!

It lives! The first 42 short stories in the series, collected in one volume. There will definitely be more to come.

It's in both paperback and ebook form, available everywhere except Amazon. (Because of that pesky "already available for free online" rule.) Thankfully other stores don't have Amazon's issues. You can order this in from your local bookstore!

If you're in the US, Barnes&Noble is handy, along with several other big retailers. If you're elsewhere, bookstores closer to home will have it in their catalogues too. I'm keeping an eye on some in the UK and Canada to see when they have both formats listed.

Anyways, for those unfamiliar with the series, here's the text from the back cover:

Robin never planned on a career gallivanting about space. She’s just taking a bit of a break between veterinarian jobs back on Earth when an opportunity pops up that’s too good to ignore … and it leads to one thing after another. No regrets. Someday she’ll settle down to a permanent job somewhere planetside, possibly as an Earth animal expert on an alien world. But that’s a concern for the future. Right now, there are space goats to wrangle, cats to rescue, adventures to be had, and alien coworkers to introduce to the many baffling joys of having a human onboard.

[godzilla-reads]

Watership Down by Richard Adams

[teaboot]

Stop me if you hate the concept: short, fat, hairy lady gets isakai'd into a high fantasy, and instead of "oh look at all these ethereal elves woe for I am but a flawed mortal" routine she lands in Dwarf territory and is immediately revered as the most enchanting and desirable maid in all the land. This immediately becomes a zesty romantic drama. Thoughts

[akiyty]

[charlesoberonn]

There's a tournament arc with different Dwarven forgemasters competing to create an artifact worthy of her affection. She secretly helps the underdog guy she's already into complete his project.

[thatpaperlife]

[random-questions-fairy]

Oh my gosh. I just found this website that walks you though creating a believable society. It breaks each facet down into individual questions and makes it so simple! It seems really helpful for worldbuilding!

[theredscreech]

Heads up that this is a very extensive questionnaire and might be daunting to a lot of writers (myself included). That being said, it is also an amazing questionnaire and I will definitely be using it (or at the very least, some of it).

[heroineimages]

Bookmarking this…

[backofthebookshelf]

This inspired me to see if Patricia C. Wrede’s Worldbuilding Questions are still online, and not only are they, they’re on the exact same page I saw them on in 1998. Somewhere there’s a binder of the Word doc I made of all of them and the answers I filled in for Baby’s First Fantasy World

[voughtwifeannie]

Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

[fragmentedink-archived]

YALL. Holly Black has a list of resources she's used for writing her books on the fair folk. I'm OBSESSED. I love her work and world building. it's so true to the heart of faeries

[void-botanist]

Some other resources that might be worth checking out (not strictly about faeries but related):

The Corpus of Electronic Texts, or CELT, a collection of Irish cultural materials. This includes English translations of Irish myths.

Mary Jones - similar to CELT, and a resource we used for translations in the Irish mythology class I took in undergrad.

An Encyclopedia of Fairies by Katherine Mary Briggs, a British folklorist.

The Folklore of Cornwall by Ronald M. James. Unfortunately this book is harder to access and is often only in university libraries, but if you're interested in piskies it's a potentially very helpful read.

Traditions and Hearthside Stories of West Cornwall by William Bottrell.

[luna-azzurra]

10 Writing Things That Have Saved My Creative Soul (and Sanity)

↳ If your character’s arc isn’t making you slightly emotional or existential, it’s probably not finished. If they start and end the story the same person, that’s not a character arc—it’s a flatline. Make them squirm, learn, lose, grow. Bonus points if they make you question your own moral compass in the process.

↳ Worldbuilding is not a license to drown your reader in lore like it’s Game of Thrones on steroids. If you have to write a wiki page to understand your own plot, fine...but that doesn’t mean your reader has to read it. Give us breadcrumbs, not a 12-course feast on page one.

↳ If the theme of your story can’t be summed up in one slightly aggressive sticky note, you’re probably overcomplicating it. (“This book is about choosing yourself even when no one else does”—boom, theme. Now go make your characters suffer for it.)

↳ You will hate your manuscript somewhere between 30k and 50k words. That’s your cue to keep going, not quit. It’s like the literary version of hitting mile 18 in a marathon. Everything hurts, but that means you're doing it right.

↳ That “genius idea” you had at 2 a.m.? Save it. Write it down. But don’t drop everything for it. New ideas are seductive chaos demons. Your current project deserves monogamy… at least until the second draft.

↳ A character’s greatest fear is a shortcut to their heart. Forget favorite color or coffee order...what keeps them up at night? What would destroy them if it came true?

↳ If you don’t know how to end your story, figure out what question it’s been asking the whole time. Once you know the question, the ending becomes the answer. Maybe not a happy answer, but a satisfying one.

↳ No one’s going to write your weird little story the way you will. That’s your superpower. So go ahead and write the morally gray necromancer love triangle in space. Your people are out there. And they’re hungry for it.

↳ You are allowed to be a slow writer. You are allowed to be a fast writer. You are not allowed to be a cruel writer—to yourself. The world will criticize your art for free. Don’t do their job for them inside your own head.

↳ Some stories just aren’t meant to be novels. And that’s okay. Maybe it's a short story. A play. A fever dream disguised as a poem. The shape doesn’t matter. The story does. Let it tell you what it wants to be.

[theglitchywriterboi]

I hope every writer who sees this writes LOADS the next few months. Like freetime opens up, no writers block, the ability to focus, etc etc you're able to write loads & make lots of progress <3

[stevviefox]

Passing along for all the writers out there!

[wafflewarrior111]

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

[missroserose]

I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how?  How does he know it?”  Interrogate your witnesses.  Cross-examine them.  Make them explain their reasoning.  It pays dividends.

[heck-in-a-handbasket]

All of this, but also feels/felt. My editor has forbidden me from using those and it’s forced me to stretch my skills.

[ineedthesons]

This is your "show not tell" advice explained!

[tarysande]

Editor here.

First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.

What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.

This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*

If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.

*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.

This is also where you want to pay attention to verbs of being.

“It was rainy.” Versus: “The rain pounded against the roof.” Or “The rain howled like an injured animal.” Or “The rain tapped against the window like an anxious lover.” All of these are inviting the reader deeper into the experience of the story by using stronger verbs and similes. And, at the same time, they stir feelings (instead of TELLING feelings). And feelings keep your reader engaged. Engaged readers keep turning pages; engaged readers become FANS.

[the-haiku-bot]

This is also where

you want to pay attention

to verbs of being.

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

[trankinstein]

Less magic schools. More magic universities. Unlearn the simplified models of your secondary education. Discover how to reference scrolls written by a wizard possessed by a different wizard. Identify bias in the voices that whisper from beyond the veil. Have your institution be accused of promoting a Merlinist agenda. Become addicted to energy potions.

[marlynnofmany]

Honking Trouble

This job was a pain from the start. The customer was pushy, giving Captain Sunlight a run for her money on the diplomacy front — not bad enough for us to refuse to make the delivery, but pushing the boundaries — and the cargo was awkward. 

And since it was animals, that was my problem. 

“Keep your distance,” I told Zhee. “I think it can get its beak between the bars.” The cage was large and rickety, with bars a few inches apart. As if to prove me right, a long furry neck with a beak at the end stabbed outward and hissed at us. 

Zhee flared his pincher arms and hissed back, but the creature wasn't impressed. It just spread its batlike wings as far as the cage would allow and made a surprisingly deep honk that echoed through the cargo bay. 

I hadn’t read the documents yet about what kind of animal this was, from which planet, but if those documents turned out to say this was a genetic experiment in unwise combinations, I wouldn’t have been a bit surprised. It was vaguely goose-shaped, just with four feet instead of two, equipped with talons instead of webs, white fur instead of feathers, and a beak that ended in a wickedly sharp hook. After all the hawks and parrots I’d encountered back on Earth, that beak looked ready for either mischief or violence. Probably both.

At any rate, the goose-thing’s honk set off the tiny creatures in the other cage, which thankfully were better contained. That cage was a mesh sphere not about to let any of the little drifting dust motes out. As enchanting as it might be to have the spaceship filled with colorful bits of fluff that moved gracefully and made a chorus of tiny peeps, they just looked like allergies waiting to happen. And I didn't want to think about finding them behind the wall panels later. 

Zhee hissed at the furry demon goose again, clearly hoping to frighten it into submission. No luck. 

“Knock it off,” I told him. “That'll just make it louder. Here, help me get the lifter under the cage.” The customer had brought the cage onboard for us, but this wasn't a good spot for it. So it was up to me, the resident animal expert, to get it moved safely to a room more suited to animal cargo. Nobody wanted to sneak past this biter to get to the rest of the crates. 

Luckily we had a freshly refurbished hoversled with a lifting scoop that could slide under anything as long as the thing in question held still. I convinced Zhee to hold the cage stationary, since his exoskeleton was tougher than my fingers. The goose-thing pecked at him from an awkward angle. I worked the controls, and soon our misbehaving cargo was lifted up onto the sled. 

I looked over at the round cage full of chirping alien pixies. “Let's come back for that one.”  

“Agreed.”

The goose was quiet while we moved it down the hall, taking in the sights with all the attention of someone casing the joint. I told myself not to be too judgmental. Maybe it had never been on a spaceship before, and was curious.

Then Blip walked out of a side corridor, wearing her favorite flowy silk outfit that made her look like a muscley flower, and no: the goose was just looking for opportunities. It snapped at the nearest hem and almost got a beakful, but Blip moved just in time. Then she scolded it for almost ripping quality Frillian clothes.

“Do you know how hard this is to replace? Of course you don’t; you’re a rude animal.” She shook a blue finger at the unrepentant goose. Behind her, Blop appeared and aimed his own frown into the cage.

“Sorry,” I said. “Don’t get too close to this one. At least it was only aiming for your clothes, not something that would bleed.”

Blip folded muscular arms, flared her frills, and scowled. “It would have regretted that.”

I sighed, pushing the hoversled forward. “Don’t punch the cargo.”

Blip muttered as we left. There were no further incidents on the way into Storage Hold B, and the goose didn’t even try to bite us as we got the cage off the sled. It was busy inspecting the view: boxes, cabinets, and the large clear containment pen that had held troublemaking cargo before. It would have been nice to shove this guy in there, but the cage wouldn’t fit through the door, and there was no way I was going to voluntarily let it out.

“I’m watching you,” I told it as I followed Zhee back into the hall. Technically Kavlae was watching, or maybe Wio — whoever was in the cockpit behind the security cameras. They’d be making sure the onboarding process went smoothly before the ship took off.

I knew that, but I was still surprised to hear Kavlae’s voice on the hallway intercom a few minutes later.

“Walk faster,” she said from a single speaker. “It’s trying to open a box.”

“It can reach that??” I asked, pushing the hoversled more quickly. The aura puffs squeaked and twirled. (Their cage had a label, with a species description and the number of creatures inside. They were behaving.)

Zhee scurried ahead on his many bug legs to open the door. Before I could get there, he charged inside, hissing again. I heard answering hisses and the sound of a crate being scraped across the floor.

Once I got the aura puffs into the room, I found Zhee inspecting a gnawed-on box corner with splinters on the floor. The goose looked pleased with itself.

I asked, “What’s the damage?”

“Nothing significant,” Zhee said. “Luckily this is our own ship’s supplies, not something for a client.”

“Yeah, that wouldn’t look good.” I parked the sled. “‘Here’s your delivery! You don’t mind a little artistic nibbling about the edges, do you?’ I’m sure that would go over well.”

Zhee shoved a couple other boxes further back and helped me set the aura puffs a safe distance away. Then, under Kavlae’s watchful eye, we went back to the cargo bay for some non-animal cargo.

The intercom chimed before we got there. “It’s trying to pick the lock on its cage,” Kavlae said, still on single-speaker mode. “I don’t know if it c— Oh no, it’s out.”

I left the sled in the middle of the hallway and ran, with Zhee right behind me.

Speakers all along the hall chorused, “It opened the other cage.”

I said a very unprofessional word and charged forward to slam my hand on the door-opening panel. Expecting the one cargo to be actively eating the other, I dashed inside, only to be knocked off my feet by the goose making a break for it. I fell amid clouds of happily chirping aura puffs.

Zhee lunged for the goose, but it dodged what would have been a very painful hug from his pincher arms, and I heard it honking triumphantly down the hall. Zhee ran after it while the whole-ship intercom chimed.

“Escaped cargo. It is large and likes to bite. Currently heading towards the crew lounge. Captain, permission to use stun guns on the cargo?”

After a moment, Captain Sunlight answered from somewhere else on the ship. “Permission granted. All available crew, arm yourselves and proceed with caution. Kavlae, keep us posted on its whereabouts.”

Trying not to feel like a failure, I scrambled to my feet and checked a cabinet for stun guns. Found one. Waving the aura puffs away from the door, I regretfully left them floating about the storage hold while I chased after the bigger problem. Zhee had already disappeared.

I met Trrili in the hall.

“How dangerousss is thisss animal?” she asked, looming over me and flexing her pincher arms in delight.

“I don’t think it wants to seriously hurt anyone, but I can’t say for sure,” I said. “It might go for the eyes if it’s cornered. Try not to damage it.”

“Frrrrightening causesss no damage,” Trrili said, and flashed away down the hall.

I ran after.

Kavlae reported, “It’s in the crew lounge, searching the furniture, probably looking for food. This could be a good place to corner it.”

Trrili waited in position outside the lounge when I arrived, crouched like a spider ready to spring. Zhee was moving toward the kitchen entrance to flank it. A flash of yellow scales at the other end of the hall was Captain Sunlight hurrying forward with a stun gun aimed at the floor. The goose made a muffled honk from inside the lounge, crunching something that sounded like snack food scavenged from under the couch.

I stopped behind Trrili and waited for everyone to get into position. Two threatening predators and two stun guns ought to be a recipe for success against one alien goose.

Then the goose dashed into the kitchen before Zhee could get there, and the whole plan went out the window.

Trrili raced after it. Zhee got in the captain’s way. I reached the kitchen in time to see the creature hiss in defiance before prying open a cabinet door.

It might have thought that was an exit. In reality, it was Paint’s hiding spot, and she shrieked fit to shatter eardrums, curling into a ball of scales and panic.

That was enough of a distraction for Mimi to drop from the high shelf he’d been waiting on, and wrap the demon goose in all of his tentacles. It was surprisingly effective.

That’s not the plan, but I’ll take it.

Everyone was shouting and in the way. I followed Mimi’s example and climbed onto a counter, where I could get a clear shot with the stun gun and not hit him.

I stunned the goose in the butt, and it finally stopped flapping.

It took a while for all the yelling to subside, but the captain wriggled past Zhee and Trrili to declare no harm done. Kavlae told the rest of the ship. Mimi untangled himself from the goose, who had frozen in an inconvenient position. Paint stayed in the cabinet. Zhee clicked away to get the hoversled, then stopped when Trrili simply dragged the goose towards the hold.

Captain Sunlight looked up at me. “Good shot.”

“Thanks,” I said, getting down from the counter. I’d have to wash the footprints off that later. “Paint, it’s safe to come out.”

Mimi was already coaxing her out of the cabinet, offering some of the snacks that she’d apparently been eating when she heard the alert about the dangerous animal.

Speaking of which, I thought. With Paint in good hands (or the equivalent), I hurried after the others. I heard Captain Sunlight say a few words to Paint and Mimi before following.

So we got to put the goose in the Clear Pen For Naughty Animals after all. This pen didn’t have anywhere it could stick its beak out of once the stun wore off, only mesh-covered air vents way at the top and a door that locked (very reliably) from the outside.

Take that, you troublemaker.

We caught the aura puffs carefully by hand (or the equivalent), and put them back in their own cage. Thankfully the goose hadn’t damaged the latch, just opened it with bird-brained cleverness.

“It’s just those last two left,” Captain Sunlight said after counting. “Up there.”

The two in question were floating higher than her little lizardy arms could reach, so I moved to do the honors. As I did, Blip and Blop arrived with the bug-catching net that no one had been able to find earlier.

They also brought with them a feline blur that I caught mid-leap, just before Telly snatched an aura puff out of the air.

“Not for you,” I said, heart beating wildly. “Let’s get you some proper cat treats that don’t belong to a paying customer.”

Blip and Blop exclaimed loudly at Telly’s speed, my reaction time, and the fact that they’d had no idea she was there; they were sorry they almost got the cargo eaten.

Captain Sunlight repeated, “No harm done.” She waved me off to my quarters with the disgruntled cat, and spoke to the others about plans to notify the customer of just what kind of danger fee he’d brought upon himself by not properly securing his chaos-causing animal.

~~~

These are the ongoing backstory adventures of the main character from this book.

Shared early on Patreon! There’s even a free tier to get them on the same day as the rest of the world.

The sequel novel is in progress (and will include characters from these stories. I hadn’t thought all of them up when I wrote the first book, but they’re too much fun to leave out of the second).

[helpful-writing-tips]

if you're trying to get into the head of your story's antagonist, try writing an "Am I the Asshole" reddit post from their perspective, explaining their problems and their plans for solving them. Let the voice and logic come through.

[writingwithfolklore]

We had a lot of fun with this one on the discord so reblogging it here as well!

[alexanderwales]

I'm a big fan of wizards-as-programmers, but I think it's so much better when you lean into programming tropes.

A spell the wizard uses to light the group's campfire has an error somewhere in its depths, and sometimes it doesn't work at all. The wizard spends a lot of his time trying to track down the exact conditions that cause the failure.

The wizard is attempting to create a new spell that marries two older spells together, but while they were both written within the context of Zephyrus the Starweaver's foundational work, they each used a slightly different version, and untangling the collisions make a short project take months of work.

The wizard has grown too comfortable reusing old spells, and in particular, his teleportation spell keeps finding its components rearranged and remixed, its parts copied into a dozen different places in the spellbook. This is overall not actually a problem per se, but the party's rogue grows a bit concerned when the wizard's "drying spell" seems to just be a special case of teleportation where you teleport five feet to the left and leave the wetness behind.

A wizard is constantly fiddling with his spells, making minor tweaks and changes, getting them easier to cast, with better effects, adding bells and whistles. The "shelter for the night" spell includes a tea kettle that brings itself to a boil at dawn, which the wizard is inordinately pleased with. He reports on efficiency improvements to the indifference of anyone listening.

A different wizard immediately forgets all details of his spells after he's written them. He could not begin to tell you how any of it works, at least not without sitting down for a few hours or days to figure out how he set things up. The point is that it works, and once it does, the wizard can safely stop thinking about it.

Wizards enjoy each other's company, but you must be circumspect about spellwork. Having another wizard look through your spellbook makes you aware of every minor flaw, and you might not be able to answer questions about why a spell was written in a certain way, if you remember at all.

Wizards all have their own preferences as far as which scripts they write in, the formatting of their spellbook, its dimensions and material quality, and of course which famous wizards they've taken the most foundational knowledge from. The enlightened view is that all approaches have their strengths and weaknesses, but this has never stopped anyone from getting into a protracted argument.

Sometimes a wizard will sit down with an ancient tome attempting to find answers to a complicated problem, and finally find someone from across time who was trying to do the same thing, only for the final note to be "nevermind, fixed it".

[mother-sauces]

"This spell causes the hair to fall off cats." "It works with my tome"

"This spell causes the hair to fall off cats." "That's fixed in Xaranthius' latest publication, you just have to rewrite your entire spellbook for compatibility."

"This spell causes the hair to fall of cats." "Magister Olaus of Writhington uses it to help with his allergies. WORKING AS INTENDED."

[foone]

I want to see wizards snarking at each other over different magical languages/scripts, the same way programmers do it over different languages.

Sure, "High Tower is a powerful language, but it's such a pain to write. I just use Unity* as it's simple to write and can do nearly everything I need" "cranky because you can't memorize all the conjugations and declensions, aren't you?" "LOOK MAN, I CAN MEMORIZE ANYTHING, INCLUDING THE FACE OF YOUR MOTHER IN ECSTASY. IN FACT, BEHOLD!" *a little time window appears between them, demonstrating exactly that. The first wizard (seen through the window) turns around and winks at the "camera".

"you kids today with your lizardman. How can you get anything done in a language without gendered pronouns? It's like fingerpainting. Sure you can learn on it but once you've got the basics you should switch over to a REAL language"

"the Kalic have been here already. We better get out before the rest of their army marches in." "how can you be sure?" "you see that teleport?" "no" "well, if you COULD see it, you'd see it's written in Adevic Yevi. That's the Kalic magic language." "couldn't it be someone else? We saw those Monon traders, maybe one of them..." "no. No one writes Adevic Yevi unless they're being paid to. It's a language written by committee."

Wizards going on a quest to get the spellbooks for a lost spell, only to find out that it was written in skydove cant. No one can read that shit! The creator must have been one of those weird "functional wizards". (They're obsessed with making sure their spells have no side effects)

There's a small library on the outskirts of Freeport which tries to collect versions of basic spells in every language. The Adevic Yevi version of "fireball" takes up 7 pages, mostly boilerplate setting up the interfaces with fire and explosions and ExplodingMagicalBallFactorySingletons. The Lizardman version is basically "AHAHAHA, YOU GO BOOM!"

There's a bunch of wizard apprentices working on porting an old "Summon Bread and Fishes" spell from the absolutely archaic language it was written in. Once it's in Unity, it'll be easy to modify and teach to more wizards, which'll obviously be good for disaster areas. It's just too expensive to keep paying the ancient guys who can still do magic in TRAN-FOR.

Eccentric wizards keep inventing new languages for spells. You look at them and they're neat, but it'll never catch on. And either you're right, or the next time you're applying to be a court wizard, the advisors want to know if you have at least 5 years experience in Tilted Runic and you're like "it only came out 2 years ago!" "aren't you a chronomancer?" "oh good point. Yeah I've been using it for 20-30 years."

There's wizards who will spend incredible amounts of time doing silly things with spells in strange ways. There's this guy (Vorth) who made his own language where there's only one basic spell: fireball. Everything else is basic magic glue tying multiple fireballs together. So like, he's got a breakfast spell. Stand back (good advice for all his spells), and you'll see a fish get knocked out of the local pond, flung through the air by successive explosions, and eventually it lands on his plate, nicely cooked and deboned, if slightly charred (the glass of milk is harder to explain). His magical door locks involve a quicksilver sphere and molten lead changing shape when heated... It's tricky but it seems to work. He's working on a teleport spell, but so far it's mainly just killed test subjects (primarily sheep from a nearby farm).

* so the funny thing here is that this isn't a reference to the unity game engine. The main country in my One Hundred and One Magical Pistols setting is called "the union" and their language is called "unity".

[foone]

It's wands vs staves vs bare hands.

Wanders are like "they're available everywhere and once you learn how to do it it's so powerful!"

Staffguys always talk about how you can do ANYTHING with a staff. Wanders claim it's a pain to carry around an overpowered device that can do ANYTHING when you just need to cast fireball or a simple one man teleport.

Meanwhile the bare wizards are showing off how they don't need any magical tools and can just do hand motions.

Wanders and staffguys retort that when a spell goes wrong, THEY need to go to store for a new magical tool. YOU need new hands.

[xiranjayzhao]

Heavenly Tyrant ARCs (Advance Reader Copies) are now up on Netgalley and Edelweiss! If you don't know what those are then don't worry about it. You'll be able to read it upon the official release, which WILL be on Dec 24 this year! So, a little more than 3 months to go. I'm freaking out because I have no idea if you'll like the book; it's very diffrent from Iron Widow in a lot of ways...but here is what to expect!

Preorder links

As an apology for the literal years of delays, beneath the cut is also the entire prologue of HT. Feel free to read it while blasting Bring Me to Life by Evanescence like you're still watching anime in 3 parts on YouTube.

[incorrect-ironwidow]

HEAR ME OUT

IT'S GONNA BE A FUN(eral) RIDE!

[marlynnofmany]

My friends put together an anthology of stories inspired by the Major Arcana tarot, and it just came out! I'm very excited. There are so many good stories in this, some of which will stick with me for a long time. And I got to contribute three stories, which I'm delighted about!

It's on Amazon as both a paperback and an ebook. As the summary says, you can read the stories in order, "or perhaps take out your own tarot deck and let the cards decide your fate..."

(Mine are Wheel of Fortune, Justice, and The Lovers.)

(AKA, my take on the idea of a second-generation portal fantasy; something inspired by the "desperate cleric slamming healing spells," and what happens when your reincarnating soulmate gets harder to find as the population grows.)

[late-nite-scholar]

I'm in this one, too! And it is every bit as good as advertised. Everyone brought their absolute A game to this anthology and it shows.

(You can find my stories here for: The Magician, Strength, and Death)