Writer Unboxed

If you are creating a fantasy novel or one with a supernatural theme—say with a character who has a psychic gift—one of the crucial things you need to get right is the depiction of that magical or supernatural power. And that means you need to think clearly about just what it might be like to have such a power, and to understand the different ways in which it manifests itself. In this post, I’d like to pass on a few notions that I’ve worked from over the course of many years of writing such novels.

First, there are two different kinds of magic: the human kind, and the otherworldly kind.

Otherworldly, or ‘wild’ magic is an intrinsic part of the nature of immortal supernatural beings. It is not learnt, but instinctive behaviour. It is often concerned with the harnessing of the power of natural forces, such as water, wind, fire, time, etc. ‘Glamour’ or the ability to make things seem other than what they really are, is also part of otherworldly magic, though its effect can be mimicked by human spells. The kind of magic expressed by Otherworlders tends to go with who they are: fairies have different powers to mermaids, for instance, trolls to demons, and where they come from is important. In my Thomas Trew series, I explored this ‘wild’ magic extensively, through the different peoples and parts of the Hidden World where Thomas finds himself—the country of the Middlers, who live on the surface of the earth; the Montaynards, who live in mountains and rocks; the Ariels, who live in the air; the Seafolk, who live—well, I’m sure you can guess!–and the Uncouthers, who live underground.

However, human magic-workers, or people with supernatural gifts, tend to clump in three groups. In my graphic novel The Secret Army: Operation Loki, which is about a group of young psychics in the 1930′s who are being trained to fight against Nazi necromancers and psychics, I’ve called these three groups Naturals, Swots, and Accidentals—terms which I’ll use here too. The ‘Naturals’ have inborn talents that are closely related to the ‘instinctive’ magic of the otherworld, and they need few props to use them (though sometimes they’ll use some just to make people feel better!) Males and females are found equally in this group. Their form of magic/psychic gift can be most usefully compared to an inborn artistic talent. These talents include most ‘psychic’ gifts such as second sight, seeing the dead, seeing and communicating with Otherworlders, healing, etc. These powers can be improved on with learning and practice, but cannot be acquired solely through conscious study, any more than a natural artistic gift can be acquired.

‘Swots’ are less naturally-gifted, but perhaps more persistently determined and often just as successful. They may have a certain smaller talent which they build on and expand enormously, through a good deal of study, experimentation and the willingness to put themselves—and sometimes others—at great risk. They practise such things as sorcery, alchemy, necromancy and the like. They are often, but certainly not exclusively, male. They tend to use props—magical objects, formulae, diagrams and the like—and to go in for elaborate spells and potions. They are generally more social, and may form in guilds and so on. Their form of magic, in its underlying ideas and practice, can be usefully compared to science.

‘Accidentals’ as the term implies, have acquired their magical or supernatural power by accident—often to do with some kind of bang to the head or illness(I based this on real cases of people who have suddenly acquired a talent after just such an accident). These are a very small group but the talent that has suddenly come upon them is often very strong and bewildering to its startled new owner, allowing for all kinds of imaginative possibilities! (The main characters of The Secret Army, Nicky, Otis and Andromeda, are Accidentals).

But whether they’re Natural, Swot or Accidental, the practice of magical or psychic power has real effects on the people who use it. Depending on their personalities, it can have positive or negative effects: enhancing them or consuming them. And in that conflict you have a strong story source, right from the start.

Sophie Masson has published more than fifty novels internationally since 1990, mainly for children and young adults. A bilingual French and English speaker, raised mostly in Australia, she has a master’s degree in French and English literature. Her most recent novel, The Madman of Venice, was written for middle school children, grades ~6-10.

Sophie Masson

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