Writing Notes: Realistic Injuries (pt. 3)

*turns to hiking buddy*

you are hungry in the woods. are you eating moss or bug first

I am eating the big delectable USDA beef hamburger I brought with me

The fundamentals of Magic

I finally got around to writing a guideline for my magic system. As this was for my own use, i didn't put much effort into formatting or story-writing, but i thought i would share regardless.

General Concept:

Magic exists as an energy found in the "Third Realm," a shadow-like domain composed entirely of magical energy.

The First Realm is the physical world, and the Second Realm is the immaterial realm of the gods. The Third Realm is a non-physical shadow of the physical world composed entirely of magical energy.

All living creatures in the First Realm have a faint connection to the Third Realm, naturally drawing a small amount of magic into the physical world.

The "gods" of the second realm exist by the energy of the third realm, but exist as a sort of undefined halfway point between the first and third realms. Their domains are composed of magic with the illusion of physicality. The existence of the dead in this realm pose major questions on the nature of the soul that I honestly don't feel like trying to explain.

more on this later i think.

See [[Realms]]

Mechanics:

Larger creatures can channel more magic due to their greater connection to the Third Realm.

This is tied to a creature's volume, but has a small effect. Humans and Dragons have far more magic than one might expect from their size.

Dragons are something of a special case that will be expanded on later.

A large and small human will have a negligible difference in access to magic.

A ant will have less access to magic than a deer. etc.

Animals generally have far less accessible magic than sentient races, but special cases have been known to surface.

plants have almost no perceivable magic, this is thought to be a result of not having a soul or blood.

Magic in living beings is more stable and "pure" compared to the chaotic energy found directly in the Third Realm. Magic is "filtered" when it is pulled between realms by a living force, although the mechanism behind this is not understood.

Using magic depends greatly on what medium is used to control it.

Ember magic must be used by channeling magic from the Third Realm into the physical world without drawing it into one's own body, otherwise you risk mana sickness.

Dragon Magic uses dragon bone as either an amplifier or a battery for magic, allowing one to slowly accumulate large stores of magic which can be unleashed without loss.

"natural" magic is magic drawn directly from the user's body. This method must be used as a sort of signal current to activate and use other types of magic. It is the most widespread form, and also the weakest on its own, as humans have a very limited amount of natural magic at any given time. Think of it like blood, when you run low, you make more. You can't lose very much without feeling some serious effects.

When using Ember magic, natural magic is channeled from the user to maintain the connection to the third realm, and to direct the flow of the raw or chaotic third realm magic. This imposes a hard limit on how long an Embermancer can operate.

In draconic casting, raw magic is used to "break the seal" an unleash what is stored, but is otherwise preserved, making this an extremely efficient way to use large amounts of magic.

When casting without a medium, magic may flow from any part of the body, but most commonly the hands. Running low on internal magic will cause exhaustion and may bring similar symptoms to complete bodily exhaustion such as hallucinations, unconsciousness and cardiac arrest. If you run completely out of internal magic, you will die, although most will fall unconscious before this point, similar to how you will pass out and begin to breathe again if you hold your breath too long. If magic is being continually drawn from you, by a formulated spell or Ember channeling, for example, your body will rapidly breakdown to generate the deficit energy drawn from you. This is known as "Burnout".

Special Materials:

Dragon bone is prized for its ability to hold and amplify magic, allowing spellcasters to channel larger spells.

Ember acts as a conduit for magic. It allows magicians to draw vast amounts of energy from the Third Realm with minimal personal expenditure, but with significant risks. When in use, Ember generates a significant amount of heat. Ember takes the form of a black, basalt-like material interspersed with brilliant orange luminous crystals. The crystal formations are the actual Ember, with the black material being similar to a dross.

Ember prisms, cut from higher-grade Ember, are coveted for their increased effectiveness and reduced heat buildup. However, overheated Ember prisms can be extremely dangerous to the user. Despite their name, Prisms are not a specific shape. Ember is often found in pentagonal prism form in small samples, but very large masses can have a wide range of crystal forms. Ember can be cut to any shape. It is traditionally cut to 2-6" rods and used in a similar fashion to a wand. They are often shaped to maximize skin contact to reduce the effects of Ember-burn.

Overheated Prisms can cause serious burns, and have a chance to explode when overheated. Larger masses have the potential to run away while under heavy use, creating a huge spike in heat as the Ember begins drawing magic by it's own power. This almost always leads to the violent destruction of of the prism and the surrounding area. The only way to stop a runaway reaction is to quickly cool the mass below the critical threshold.

Runaway spells are not true spells. The original spell usually falls apart near instantly as the stone switches from a controlled stream of magic into an overflow of raw energy. This uncontrolled flood of energy usually ignites anything nearby within seconds. See [[The Helebrost Incident]].

Risks and Side Effects:

Drawing raw magic from the Third Realm into one's body, rather than expelling it directly into the world can cause "mana sickness," which manifests as nausea, muscle cramps, seizures, coma, spontaneous bleeding, and even death if overexposed. the condition generally lasts about 24 hours, while your body quickly attempts to prevent breakdown from the influx of chaotic magic.

"Burnout" occurs when a magician's body is destroyed by excess "dirty" magic drawn directly from the Third Realm, or is reduced directly into energy while overcasting, leading to violent immolation or explosion.

Ember-Specific Risks:

Prolonged use of Ember can cause mundane heat burns, and "Ember-burn"; a mostly harmless condition where the stone seeps into the user's skin, causing dark scars, patterns, itching, occasional numbness, and other irritating effects. In very extreme cases, Ember will begin to crystalize directly on, in, or even under the user's skin, sometimes causing frostbite-like damage and intense pain.

Magicians using Ember typically channel magic directly through it into the world, avoiding the chaotic energy's harmful effects on their bodies. See "Burnout"

Historical Context -- to be expanded

Horus Tobb discovered Ember magic but died from burnout while demonstrating its use to the Magician's guild in Tarbrind. This tragedy led to a global increase in interest for magical research.

The rediscovery of Magnus Helderon's Divine Theory provided a deeper understanding of the nature and mechanics of magic. See [[Magic and the Second Realm - Ember and Bone]]

The Helebrost Incident - the first recoded runaway of an Ember Prism. A 33" diameter Ember Sphere used for conducting research at the Helebrost University entered a meltdown state after a research team attempted to transmute a mass of pig iron directly into gold. The resulting inferno burned down nearly 3.5 square miles (9 square km) of the the surrounding city in a blaze which lasted nearly a week.

Magic and the Second Realm (Part 1)

The following document is transcribed from the heavily damaged original printing of Divine Theory, etc., By Magnus Helderon, Pioneer of magical research. This is the translated and abridged introductory section, for the magic lithograph, and unabridged text, refer to the branch headmaster of the Tarbrind Royal Library, Historical Division.

Introduction to the Text Magnus Helderon is a difficult to track figure. No one knows when or where he was born, or when he died. Only a single small portrait of him was made during his brief visit to Tarbrind. His grave is located in the royal crypts, after his exhumation from an obscure village in western Dragonspine area in 1368.

Magnus, a "folk wizard" hailing from the relatively unsettled southeastern region, was, by most accounts an "esoteric madman" who practiced some slight degree of what is commonly referred to as folk magic. He was reportedly taught by his grandmother to cure warts and witch for water and rain, among other things. He is believed to be the first person to discover the utility of the "Ember" found scattered across the world after the great cataclysm in 1253. Rather than share his findings, he delved into hermitage and studied the phenomenon ceaselessly. Despite having almost no formal teaching, He produced a 1758 page codex known as the Divine Theory, Of Magics, Embers, and Dragon-bone. It was written entirely in the Oldspeake, and was nearly unintelligible in handwriting. He personally delivered the book to the miniscule magician's guild of Tarbrind, only six months after the conclusion of the great famine, where it sat in storage for nearly a decade, completely unread.

The tome was recovered while the guild was preparing to relocate, its numbers bolstered by the recent emergence of ember magics following the incineration of Horus Tob some 18 months prior. By this time, the book was heavily water damaged. It rested in the hands of the Scribe's guild for nearly 3 years before the readable portions were translated and compiled into the Theory of Magics, a textbook used in teaching the fundamentals of magic to this day. (approx. 150 years later)

The first section, and final third of the book, some 700 pages total, were completely beyond recovery for several more years, before more advanced recovery techniques were developed. While some sections remain lost to history, What was recovered changed the fundamentals of magic forever.

Here is an audio transcript made with ElevenLabs. AI was NOT used to write this document.

10 Non-Lethal Injuries to Add Pain to Your Writing

While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas: 

Sprained Ankle

A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.

Rib Contusion

A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.

Concussion

This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.

Fractured Finger

A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.

Road Rash

The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.

Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.

Deep Laceration

A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.

Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.

Pulled Muscle

This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.

Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.

Looking For More Writing Tips And Tricks? 

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When people say, “nature is my religion” are they talking about flies that feed on shit, maggots in decomposing corpses, lionesses with stained teeth and mouths full of blood? Are they talking about floods and fires and things from which we should always run? Are they talking about carcasses, rot, death?

Or do they just mean “this particular copse of benign trees is my religion”

How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!

it sucks so bad that 'lightning magic' in every media is just some pathetic little strands of electricity. i wanna see some LIGHTNING. show me a magic setting where lightning magic lights up a room like the sun, and the bolt is only visible as an afterimage burned into your vision. I wanna see someone cast lightning and have the thunder rattling the room and shaking everyone to their core. i want lightning magic to be a split second blast of so much power it leaves everyone's senses reeling. c'mon guys don't you know what real lightning looks like? we can be doing so much better than this.

Because a few have asked

Teaboot's Super Okay Guide To Developing A Brain That Makes Art Work

Or: How to get your eyes to talk directly to your hands without your brain micromanaging you

Or: How to draw better

⚠️ Warning for super fast gifs cause they all gotta be 5 seconds or less or else my phone shits the bed ⚠️

1. Do the following exercises. Don't just think about doing them or figure out a clever way to not do them, just do them. Yes even the boring ones and the ones that look ugly

2. If you have any pride, crush it. Kill it. Crunch it up into itty bitty bits and feed it to the ducks at the park. You have no talent and don't know anything and everything you make is hot garbage. Believe that. Make yourself believe that. That is where you live now. Surrender any indignation or shame you have to the void and embrace rock bottom.

3. Read step 2 again and actually do it this time. My methods will not work if you try to make this process pretty. Don't.

4. No drawing from your imagination on these. Actually draw from real life. If it's boring like eating day old oatmeal in in beige room but your usual art still feels wonky then I'm talking to you specifically. You can't write poetry until you learn words and yes learning words is as dull as horseshit sometimes but do you wanna be Robert Frost or not

5. Pick up some cheap paper and a ballpoint pen. Grab a small object, between the size of your hand and the size of a microwave. Set a timer for fifteen minutes. Put the tip of your pen to the paper and press "start".

Now without looking at your paper, only looking at the object, draw the object in as much detail as you can. Do not break contact between the paper and the pen tip until the timer goes off.

This is a continuous line drawing, and you're doing it in pen because you need to know what rock bottom looks like and rock bottom looks like no eyes no erasers no shading no do-overs.

6. Sit down in a public place. As someone walks by, draw their their body in as much accuracy as you can before they are no longer in view. Once you can't see them anymore, the drawing is done. No adding details. Pick someone else and do it again. No "base sketch". Just them. If it barely looks human you're doing great

7. Get a black pen. Put a small object on a dark, flat surface. Now draw the surface without drawing the object. Don't draw the outline of the object. Don't do a sketch. Just draw the surface that is visible around the object until only a silhouette remains. No time limit just do it.

The ability to draw accurate proportions from sight comes from learning to see what exists between a thing and the absence of a thing and if that hurts to think about then you need to do it more

8. Keep doing these until you are Ready.

9. You will know when you are Ready. It will make sense when you are Ready. You will Understand.

10. Unwind with some goofy shit so you don't forget why you wanna improve to begin with

So y’all know the classic edge trope of “my blade cannot be sheathed until it has tasted blood”? What if a magic sword that has that requirement, except it’s sort of inverted. A sword that, instead of being inhabited by an evil spirit which once awakened cannot be lulled back to sleep except by blood sacrifice, was inhabited by a benevolent spirit who would not allow the sword to be drawn unless bloodshed were the only possible solution. A sword whose power could never be misused because it would only allow itself to be used in situations where it was justified. What about a Paladin who spends their entire journey fighting with a sheathed sword, incapacitating but never killing or maiming. The party believes that the Paladin has taken an oath of no killing, until they face the big villain. And it is in that moment, and that moment alone, that the sword will allow itself to be drawn.

Idk, this image set my mindwheels a-turning.

But do y’all see the vision?