Magicus, μαγικός, drȳcræft, magique, magic

Magic in the Narrative

Today's discussion is on magic, the role it plays in a narrative world, and how I created the magic system that prevails in my own fantasy world.

What is Magic?

Well, how long have you got?

Magic, how we depict it, and how it operates within our narrative is a tricky prospect when writing. It is one of those things in the narrative that is dependant on so very many things: the writer's cultural background; the audience's cultural background; the genre that the narrative belongs to; the desired effect; its importance as a plot device, just to name a few things. I won't get into the culture debate, I'll leave that for someone else.

Even someone who is not 'widely read' will have undoubtedly encountered a number of 'magic systems', or sets of rules within which a particular narrative's magic functions. Every writer/author has their own idea on how magic should exist in their world, some of the idea being their own, and some of it being influenced by things they have read, movies they have watched, or games they have played.

For example, Raymond E Feist's acclaimed Midkemia novels have two 'Paths' of magic, the 'Greater' and 'Lesser', and although at times the boundaries of these disciplines seem a little hazy, the system holds up and seems to function well, fitting the world like a figurative glove. Pratchett's Discworld, much like the diverse cultures and races within it, featured a number of systems, depending on who or what was wielding magic. For Pratchett, witches and wizards used different forms of magic, which was separate from that of the Elves, or any other fey beings. Due in no small part to the late Sir Terry Pratchett's literary mastery, this diverse network of magical systems operated extremely well, and helped breathe life into an already vibrant world. Both of these authors (Feist and Pratchett) employed, but were not restricted to, 'flash-bang' magic, i.e. the use of fireballs, lightning, and other explosively tasty things. I will, for the sake of brevity and the illusion of academic prose, refer to this kind of magic as 'active' magic.

By contrast (excluding the Istari) Tolkien's Middle Earth featured a much more subtle magical system, with magic, as a whole, being more of a background element. Elven magic, and even the rings, could be described as possessing 'compulsion' magic. Other things, such as Elven weapons, were imbued with certain traits and powers. Fireballs, and other 'active' magics were the realm of the wizards, or 'Istari'. I will refer to this more delicate magic as 'subtle' magic.

So, I hear your minds ask, which is right?

BOTH - and by no means are they the only 'types' of magic that appear in narratives. I am simply picking a pair of examples to demonstrate my point.

Perhaps the fundamental thing to remember when looking at magic in fiction is that the magic system in any given narrative is the brainchild of the author. As I said before, these authors draw inspiration from other magic systems they have encountered, and then adjusted it, shaped it if you will, to fit into their world, making it their own. Authors try to make the magic system of their narrative fit their world as well as possible.

For me, the best way to check the efficacy of  a given magic system is to ask a simple question:

 'If I removed the magic from this story, would there be any sort of impact upon this narrative or its world?' 

If the answer is yes, then the magic system works, and makes the narrative a more complete piece of work.

Native Perception of Magic

To make magic 'fit', the residents of a given narrative world must have some opinion, and perception of magic. Even if it is extremely rare, magic should be 'in the public eye'. If you disagree, have a think about this; the human race, until recently (and particularly during the 'Dark' and 'Middle' Ages), genuinely believed in magic. People genuinely believed in magical poultices, curses, witches, and creepy things under the bed (we now know that these are in fact old children's toys, long since abandoned, which have take on an ill aspect). So what is important is how magic is perceived in any given narrative.

The general populace may be suspicious of magic, or worship those who use it. They may be afraid, or consider it a blessing from the God(s). In some worlds it could be a tool or resource (like coal), resulting in a mago-industrial revolution, resulting in magically powered trains, clocks, and street lamps. In another, it may be a rare gift, which only 1 in a million people has. The possibilities are as good as endless.

Writing magic isn't easy, and shouldn't be - but it should be satisfying to write and read. A few things should be thought about early on in the creation process:-

How common is magic? - This is crucial to nail down early. Does everyone have it? If so, are there vastly different degrees of power, or is it equal across the board? If not, does it result in the general population treating the magic users as a 'lesser' or 'tainted' part of society, or perhaps a new upper class that rules with magic? These questions are vitally important, as they shape the world you are writing.

How is it accessed? - Access to magic is another key element of world and plot development. Is magic wielded through some ancillary device, such as a wand, crystal, or staff? Is it operated through speech? Does it require the consumption of something (for example, some forms of magic in Brent Weeks' Night Angel Trilogy require the wielder to be exposed to sunlight), or is it purely mind driven? Nail this down, and it can have an effect on many points within your narrative. For example, think about how detrimental it was for Ron Weasley in Rowling's Harry Potter and the Chamber of Secrets when his wand was damaged.

How is applied? - How does the magic in your world manifest itself? Is it 'active' or 'subtle'? Is all magic telekinetic, or psychic? How magic is applied (should) have a notable impact on how the populace of a world perceives it. If it is all fireballs and demon summoning, they probably are going to be less than welcoming to the chap who is waving the glowing lump of wood around and laughing maniacally.

Once these points have been established, some more things should be taken into account. Magic will undoubtedly effect governments, religions, and how society functions in general. If magical healing is pervasive in society, for example, would there be as high a rate of death due to infection or accidental injury as humans have historically suffered?

In a medieval setting in particular, both religion and political (for the sake of the argument, feudal) systems would be impacted upon. How, for example, does magic and its application feature in relation to religious doctrine? One possibility is that it could be treated in the same manner as medieval Christianity treated supposed 'witches' -  i.e. burn at the stake or drowning. Or, do priests use magic as part of their work as holy men? An interesting scenario might be one in which a priest uses emotion altering magic to enhance his sermons, making his clergy more likely to react in certain ways. Another possibility would be to look at how certain classes might be impacted. In fact, let's do just that...

The Royal Family of Mages - In a particular world, only a very small group (one bloodline), have any magical powers. This family manages to establish/usurp a kingdom. Their magic can be used in an oppressive manner, or to better the lives of their adoring (or fearing) subjects. If treated with due care and attention, this would be a fantastic plot device for a novel. If used poorly, it would create a terrible imbalance (see last week's blog on credibility).

The Magic Caste  - Those born with, or capable of wielding magic, make up approximately 10% of the population. As such, they are common enough to be an acknowledged part of society, but few enough to be a minority that is discriminated against. Along with limitations to the potency of their power (so many possible reasons for this) this means they become a spurned element of society. Perhaps they are branded, or bear disfiguring marks for identification. Another possibility is that they are born looking different, which only adds to their discrimination.

Magic is Learned - Let's step away from the idea of magic being genetic, and bound only to a percentage of the population. What if the ability to cast magic is present in everyone, but has to be taught? Perhaps to master magic you need some equivalent to a university education. This would have an interesting impact on society, as perhaps only those with the financial resources could become educated in the magic arts. This would certainly create an interesting world.

Balance

You knew, after what you read last week, that this was coming. Balance and credibility, you may have noticed, have a great deal of bearing on magic in narratives. Unrestricted magical power, while not impossible to write, can be more trouble than it is worth. Even an impressive wielder of 'active' and 'subtle' magic, who has ruled an empire for 100 years probably wouldn't have limitless power. Perhaps by using magic to extend his life, he has crippled himself in some other way. Maybe while magically supreme, he is decrepit and cannot move from his throne (akin to Mr House in Fallout: New Vegas). Below are some more fleshed out examples.

The God Emperor - Emperor Vallis Terrenius the Prime ascended to the throne by using his magic to bend all in the imperial court to his will. However, to maintain his position, he must constantly expend his magical energy on the upkeep of this manipulative spells, Should he end those spells, he would face all out rebellion. Thus, he must really on the Imperial Army (whose General is under one of these spells) and his own cadre of mages. Should the loyalty of his mages be lost, Emperor Terrenius would be bound to fall.

The Burning Duke - After the Battle of Tirfal, where he used his fire magic to obliterate the enemy legions, Duke Justinian was hailed a hero. He is often called on by his King to use his legendary powers to vanquish the King's enemies. However, every time he uses his magic, the Duke's life is shortened by a number of years. The greatest threat known has arrived at the border, but the Duke knows that if he faces the enemy with magic, his life will run out...

With these two examples, we see a way of balancing the immeasurable power of a 'super mage' with something else. Not only does this prevent imbalance, it often creates an intriguing plot device.

Arcane vs. Divine

D&D aficionados ahoy! As some readers might have noticed, the magic system in Dungeons & Dragons has inspired many an author. I am sure you can name a fair number of authors, novels, films, or video games that feature a system reminiscent of D&D. You might be wondering why this is...

For me, there are a number of reasons for this.

Credibility to Religion -  In a world where magic and its use are in abundance, a religious system like the ones in the 'real world' would simply not work. Denial of magic would only function up to a point when the walls of the church/temple were built by one woman who quarried, cut, and set the blocks with her mind. Thus, by introducing a dualistic magic system, with 'Arcane' (from the Latin arcanus - 'hidden' or 'secret') and 'Divine' (from Latin divus - 'God') magics available. In this system, the two types of magic, which are drastically different in use and manifestation, are wielded by Wizards/Sorcerers, and Clerics/Priests respectively. With the ability to wield god(s) granted magic, the priests grant their faith a credibility that it would otherwise lack.

Diversity of Forms and Uses - As I said above, Arcane and Divine magics are often very different in their purpose. While Arcane magic is akin to what I define as 'active' magic, Divine is more subtle, and is more about healing and (as gamers would say) 'buffing'. This difference means their is a societal diversity, and prevents all the magic users from being lumped into one basket. This leads to my next point...

Balance - By avoiding allowing one magic user to wield the entire spectrum of magics, regardless of their power or intellect, this dual system holds an inherent balance. Nuff said.

It is just more fun, and more interesting - It really is. Take all these points, and think awhile. It creates a more diverse environment, allowing for more stories, with different results. Diversity is good!

My World

For my world of Doranath I, naturally, have created a special magical system that allows me to tick boxes of my own making. I will briefly run down them, and follow them with a brief narrative of sorts that I wrote to visualise the system, and create my world's perspective on arcane magic. I am sure you will notice some similarities with other systems that you have come across. As I said before, all writers are influenced by other things they have read, heard, or seen. Anyone who says difference is naive. 

Dual System - My world has a dual magic system. Arcane is 'active' magic, and is more potent but at greater cost. Only those born with an Arcane Shard can wield Arcane magic. Divine, or deific, magic can be learned by anyone except Arcane mages (the Arcane shard prevents the presence of any other magic form). However, it is less potent (usually) than arcane magic, and is wholly reliant on practice and mental discipline, as well as religious devotion. There are other restrictions to magic, but...well...Spoilers.

The Arcane Shard - Those born with an Arcane shard suffer a terrible fate. Their mind develops at an accelerated rate, reaching adult maturity at age ten, though the body matures at a normal rate. Arcane power comes from the Arcane shard within their body, which in turn creates power by consuming its host, eventually converting their entire being to pure magical energy, often to dramatic effect. Use of difficult magic speeds up the conversion. Most mages live to a maximum age of thirty.

Appearance - Magic users in my world look different. They have no iris, pupil, or white in their eyes. Their eyes are one solid, luminescent colour that is tied to their native element. This is due to the arcane shard's consumption of the flesh. An adult mage who has used magic often will have blood that glows a matching colour.

Reliance on Elixir - To combat the conversion of flesh to magic, and prevent the magic user going nuclear upon their demise, all arcane wielders use some method to control. The most common form is known as 'the Elixir' which is a mysterious potion that serves to slow the shard's progress through the body. This recipe is carefully controlled, and even most mages do not know it, thus affecting the way in which mages may move around the world, and impacting upon the economy of the world. 

No hard and fast rule on perception - My world is made up of many races and cultures. Thus, the perception of mages varies wildly. The Erelisians see it as a taint, and any mage caught within their territory will be executed. Conversely, the Dwarves of Mount Drael see it as a valuable gift, and Arcane smiths attain great fame as a result.

Excerpt from 'A Brief Account of the People and Customs of Doranath'

Arcana and the Magi

          It is said by the great lore keepers, that after man rose to power, there was a collision of the planes. The plane of Arcana, the birthplace of all magic, other than that of the Gods, somehow merged with our own plane, and mankind received the gift of the Arcane.

            This immense power was not without a cost however, as most mages live only very short lives, until their 30^th year quite often. This is due to a combination of the incredible power they hold within their bodies, which quite often is uncontrollable, and the fact that to be able to utilise their planar gift they must constantly drink of a strange brew made by the men of Darrianus. It is said that is made of the powdered scales of salamanders and various mystical herbs and roots. Without this potion, mages have no way of controlling their magic, and they will die in acute agony.

            I do not know whether it is the magic, the potion or the combination of the two that makes the eyes of a mage so strange. They seem to be lit from within, and never have whites, pupil, nor iris. In some places mages must wear a hood that conceals their eyes so as not to drawn undue attention, or frighten the simple minded, though many mages do this anyway, regardless of their locale.

Conclusion

Here we are, once more, at the end of a discussion. I hope my thoughts and opinions on magic within narratives has been informative, and perhaps even insightful. If lacking that, then I hope at the very least that you have enjoyed this diversion from your daily routine. Thank you again for taking the time to read this.

If you do wish to leave comments, you are more than welcome to, providing they are civil and add to the discussion (or are desperately sycophantic, because a touch of narcissism is a good thing). If you think I have missed a point in my discussion, I would love to know.

Until next time, I bid thee farewell,

NNB CLARKE

P.S. I once again apologise for any typos. I do reread several times after this goes up to double check, but I know I make mistakes.

The Issue(s) of Credibility

Day One, Post One. The discussion of 'credible' fiction is something that is is common, at least in my life. What makes one fiction better than another? What makes a fantasy world click? Why does that character just not fit? I will go into some of my thoughts on the matter. However, I doubt this will be the last time I air this discussion here. I hope I answer at least some of my own questions, as well as yours.
For today, I will introduce the topic with reference to Fan Fiction.

The Multifaceted Gem of Fan Fiction
[For a quick definition, despite my edginess as an academic to recommend this site, jump on here: http://en.wikipedia.org/wiki/Fan_fiction] 

Fan Fiction is something that has become increasingly prevalent (at least to my observations) with the rapid growth of the internet and social media in the 21st Century. Often, perhaps too often, it is denigrated by readers, authors, writers, and critics. Beneath the aggression, hatred, and bilious accusations, there is perhaps at least a grain of validity. Fan Fiction is what I would refer to as a 'Free for All' genre, where writers write their own stories, but set them in the world created by another, using the other writer's setting, lore, and characters. This, in itself, does no harm whatsoever, and can be a good way for writers and authors to gain a greater following. However, Fan Fiction, particularly when done poorly, has a habit of breaking the rules of the setting it has appropriated. Again, in and of itself, this is harmless, and often very fun to write and/or read.

However, while this is okay for a Fan Fiction author to do, as they have no binding obligation to produce something that is anything beyond fun. Conversely, an author of non-Fan Fiction must do their best to avoid the temptations of the much more liberal Fan Fiction style. This is so they may maintain the credibility and balance of their narrative, and maintain the suspension of disbelief within their work.

Balance?

Even though a writer technically has freedoms beyond reality in their own work, moderation must take a powerful role within the creative process. While a godlike magic user with immeasurable 'mana' (or your regional equivalent), along with no weaknesses, might be 'cool', or 'exciting', or even 'wicked sick', such a character can unbalance or even break the narrative they exist in. Readers enjoy conflict, they enjoy seeing a character overcome challenges and face setbacks.

If the magic user in question can solve any problem with a wiggle of his or her magical little fingers, stories end as quickly as they began. Such a character becomes, for all intents and purposes, deus ex machina, a godlike character who steps in and saves (or ruins) the day on a whim. Don't get me wrong, used intelligently and sparingly, deus ex machina characters can be excellent and compelling plot devices, but outside that role, they are a plot crash waiting to happen. Importantly, these sought of characters don't just appear in Fan Fiction, or due to a lapse of judgement on the part of a DM in Dungeons & Dragons; prominent fantasy authors have fallen into the trap of over powered characters. The question then is, how does one get out of such a trap?

Nerfing?

For the gamers among you, the term nerfing will be very familiar. In the games industry, nerfing refers to the practice of drastically limiting the powers or performance of a particular element of a game. A weapon or piece of armour might be too powerful, causing an imbalance in the gameplay, or a boss might be so difficult as to be impossible.

While, to my knowledge at least, authors don't come out and say that they had to nerf character x for reasons y and z. There are probably a number of reasons for this. Perhaps the most glaring reason is the idea of suspension of disbelief (aka the danger of metagaming); if an author were to publish an article that essential said 'Yep, I stuffed it royally, please pretend Sir Blathersby did not ever find the Sword of  Inscrutable Epicosity, as I will be removing it from all future novels for the sake of balance,' we would probably choke on our collective morning beverages and wonder how a 'professional' got it so wrong.

But, as I said before, the professionals do get it wrong. We have all read, I am sure, a fantasy novel (possibly even by a critically acclaimed author) that has a moment where we stop and think, 'that is a bit much.' The reasons for this are, surprise surprise, manifold. Here are some possibilities. First, perhaps the author wrote themselves into a corner, creating an obstacle that required immense power, but could not find a way to rescind that power afterwards (more on this later). Secondly, perhaps the novel in which the unbalancing effects was intending to be a one off that was more successful than anticipated ( I can think of quite a prominent example of this without even trying), and thus the problem of balance wasn't taken into account. Third, less probable, is that the author used some form of random generation to decide on plot events (unlikely, but it does happen), in the style of Dungeons & Dragons.

So, now we are stuck, we have created something that unbalances the narrative. Let's make up an example.

Guy Broadhelm stood atop the cliff, revelling in the power that filled him. The scars on his hands began to fade as his newfound magic spread through his being. He raised a hand to the sky, as though to grab it. Clenching his fist he pulled down, the motion accompanied by the screams of a million tormented souls as the sky itself was torn asunder. He stamped his armoured foot and the mountains either side of him crumbled into dust. Dizzy with his potency, Guy laughed so loud that the heavens trembled.

Here, the narrator explores the seemingly limitless power of Guy Broadhelm, a mage capable of manipulating nature itself. He is not, by any means, the most unbalancing character to ever appear in a narrative, but you can see that he would create potential difficulties in any plot, whether as the antagonist or protagonist. So, how do we nerf him? More importantly, how do we nerf him without upsetting the flow of our narrative, or disrupting the suspension of disbelief.

For the answer to this, I bow to the immense knowledge and experience of the team at Wizards of the Coast. I feel that the following passage nails solution on the head very neatly...

Sometimes...the unexpected will happen. The characters may defeat a villian, foiling what the villan (and you [in this case the author]) thought was an unstoppable escape plan, and gain a vorpal sword that you never intended to fall into their hands...Or, even more likely, the combination of some new acquisition with an item or spell or power a character already has will prove unbalancing in a way you didn't foresee.
When a mistake is made, and a [character] ends up too powerful, all is not yet lost. In fact, it's usually simple to increase the challenges that the character faces to keep him or her from breezing through encounters. However, this way of solving the problem can be unsatisfying...

(Wizards of the Coast, 2003, Dungeons & Dragons: Dungeon Master's Guide (v3.5), pg.13)

Of course, when reading this example, you need to keep in mind that a Dungeon Master in D&D has significantly less control over the events within his or her 'narrative world' due to the input of players. However, even writers can back themselves into the corner, giving a character an innocuous power which, unfortunately, when acting in conjunction with his or her other powers, makes the character far too powerful, or grants them some additional benefit that unbalances the narrative, but cannot be omitted as the omission would be glaringly obvious to the reader. 

Before we look at the Wizards of the Coast solution to such a problem, I will propose a few that I have seen before, or even used before.

Hubris:A favourite of the Ancient Greeks, this one can work very well, and leave the ready feeling, if not satisfied, then at the very least vindicated. A character revels to greatly in their power, using it with reckless abandon, drawing the attention of gods, or fate, or some other 'higher power.' Then, either through the machinations of these higher powers, or the character's own poor judgement, the character meets their downfall. The downside to this method is that it can smack of deus ex machina, and should definitely be used sparingly for maximum narrative impact.

Curses: Always a bit of fun, the old curse balance. The individual (or group) doing the cursing need not even be 'evil' despite the connotations of the word 'curse', Perhaps the unbalancing character gained his power by retrieving a magical sword from a haunted wood (because who doesn't love a good old cliché), but in doing so is cursed; he might lose the ability to speak his native tongue, or become deaf, or be overcome by aggression whenever wielding said sword. The options are legion and are excellent plot devices in and of themselves. In a positive alternative, perhaps the hero's friends are concerned by the effects the new sword is having on him, and thus cast a curse (or compulsion) upon him to counter the weapon's influence. Perhaps, as long is it does not feel contrived, this method of balancing is the most effective.

Cost: Similar in part to curses, this balancer can work very well too. A limit on the frequency some new power can be used, or a great cost for the user if they abuse the power, A frequency of 'uses per day' method can work well, especially if the use of the power is physically demanding, or mentally draining. The cost method can also be a potent plot device, especially if it is a moral or personal cost. The best example of this I have seen to date is by far the way Brent Weeks manages Kylar's immortality in his Night Angel trilogy. I won't explain it here, so as to avoid spoilers.

The Imprisonment Approach: I will be honest, I am not a fan of this method, though possibly only because I have never seen it done where it has been subtle enough to not feel contrived. Essentially, the unbalancing character(s) in question are removed from the events of a particular narrative or section thereof so that they cannot quick fix the conflict of the narrative. I won't name the well known author who used this at least once in an attempt to balance the narrative of one of their books, but if you have read it, you will know what I am referring to. I suspect, if this method used carefully, it can be very effective, but it is easy for it to feel contrived.

The 'Oops, pretend he couldn't do it' Method: This should just be a no-no. Unfortunately, at least one critically acclaimed author has done it, along with (let's be honest) most amateurs. Sometimes, when writing, we give a particular character a very potent ability without thinking ahead to the problems it might create (for this example, let us use teleportation). Two books later, we realise how story breaking it is for that character to get across the planet in the blink of an eye, but what do we do? Well, what we shouldn't do is pretend that the character could never do it. That is jarring, and can very easily prevent the reader from engaging fully with the narrative. After all, this might be a character whose life the reader has followed through half a dozen books, and such an arbitrary change to the character can be very damaging to the readers' engagement with the character and the novel. Ultimately, this should be avoided at every turn, as it is not a fix, because even ten books later a reader might mutter, 'This wouldn't be a problem if the author hadn't broken my favourite character...'

I have not brought up deus ex machina as a fix, simply because, really, all of the above fixes are, in some way or another, deus ex machinae.

So, how do Wizards of the Coast suggest to fix an unbalanced character? Let us see...

For example, suppose a [character] becomes an unbalanced character by using a wish spell to give herself the ability to cast all of her prepared spells twice rather than once. [thus breaking the cost balancer I described above] An in-game [in this case in-narrative] solution might be to have an enemy cleric use a miracle to rob her of that newfound ability. Whatever you do, try no to make it obvious that the situation is just a tool to balance the game [narrative]. Instead, make it seem just a part of the adventure.

(Wizards of the Coast, 2003, Dungeons & Dragons: Dungeon Master's Guide (v3.5), pg.13)

As we can see, the Wizards of the Coasts' advice is perhaps the wisest. Solve the dilemma in the most believable way. Make the fix invisible within the adventure of the narrative. An obviously contrived fix is no fix at all, but an invisible one can often hide the initial loss of balance as well. Make it credible.

Now, you might be wondering, how is this author going to fix Guy Broadhelm and his planet killing mind? I refrained from mentioning another fix, one that resonates well with the human psyche (and in some ways, Newton) the Weakness. Let me show you...

Guy shuddered as he released the magic from his grasp, feeling hollow as he did. His insides burned, his breathing became difficult. The shard within him burned so brightly that it shone through his chest, surrounded by an opalescent aura. He fell to his knees, the arcane energy engulfing him. He fumbled for the flask of elixir at his belt, and drained its contents in a single mighty gulp. He felt it start to soothe the rampant arcane fire but it was too late. Too late.
Light exploded from his every orifice and he fell to the ground, a shattered, burnt out husk.

This particular weakness is present within all magic users in my fantasy universe. Every author finds a way to balance magic, as if left unbalanced, it can be an ever lingering elephant in the room for both the author and his audience.

Conclusion?

Well, I am sure your eyes are now a little sore from this rather long discussion. However, I can hopefully sum this up in brief. Unbalanced characters are part of fiction, and particularly fantasy; they even plague the best authors in the world. The trick is to know how to deal with the loss of balance in such a way as to preserve your credibility as a writer, as well as that of the narrative. As long as the problem and the solution feel comfortable and natural within the narrative's universe, they are not a problem.

The main thrust, at least for me, is that one should think ahead in regards to how best to control and mould the lack of balance in such a way that it can either be redressed later on or even become a fundamental (but fitting) element within the greater narrative of your fantasy universe.

Thank you for taking the time to read this, and I hope you got something out of it. I apologise if I didn't cover something quite to your satisfaction, or if I rabbited on overly much on one particular element or another.   

The two future instalments that are in the pipeline for The Narrative Within are on magic and another big elephant in the room: immortality.

In the magic discussion, I will explain how I created the magic system of my fantasy world, and how it interacts with the world it exists within.

In the immortality discussion, I will write about my character Lucian, and how I deal with making his immortality functional, and balanced.

For now, 

Cheers,

NNB CLARKE

p.s. I apologise for any typos; I don't allow myself much editing time at present due to a simple lack of time, and a desire to get this stuff up sooner rather than later.

A Narrative Within

A Narrative Within

Who, What, When, Where, and Why?

Welcome to A Narrative Within, my new blog. I thought I would kick things off with a brief rundown on the five W's of this blog.

WHO?

I am N N B Clarke, an aspiring writer from Brisbane, Australia. I am a student of Ancient History, a musician, and a lover of fantasy fiction. I am a gamer, reader, and writer. I have published one work on Amazon this year, An Introduction to Doranath, which has had a pleasing reception.

WHAT?

A Narrative Within is intended to fulfil a number of roles in my writing life. Firstly, it gives me a 'public face' with which I can communicate more directly with my readers. Secondly, it allows me to air various thoughts I have on the craft of writing (fictional and academic). Thirdly, hopefully, I will be able to put some of my writing up here, free for those who read A Narrative Within to enjoy.

WHEN?

For now, it will be when I get the time. No sooner, no later. If things go well I hope to have weekly updates at the very least.

WHERE?

Here on Blogspot/Blogger, but I will also push a link to Tumblr and Facebook whenever a new instalment is up. 

WHY?

This is well covered by WHAT? In addition to that, I feel that this blog will be a good way to begin discussions with other writers, as well as get everything thinking a little more about the writing process.

ANYTHING ELSE?

Yes, actually, there is. A little housekeeping. The internet is rife with opinions, ideals, harsh realities, and pleasant fantasies. This blog is mine, and thus will be a place where my opinions are put down on the (digital) page. I respect that everyone is entitled to their own opinion, and I hope you will extend that courtesy to me. If you don't agree with something I have said, you are more than welcome to disagree, all that I ask is that you do it in a civil manner. In fact, I encourage you to examine your views on the topics I write on, as that is why I am writing them.

Finally, thank you for taking the time to read this Blog

NNBC