You don’t need to have magic to have fantasy, but it certainly makes things more fun in your book.
Throughout this guide, I’ll be referencing several magic systems, but I’ll also be relying a lot on my own system, High Poetry. That’s because, well, I know it better than any other magic system because I made it up.
Without further ado, let’s get into it!
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Brandon Sanderson’s Three Rules of Magic
Being the most famous living fantasy author (other than some shitty ones we don’t want to talk about), Brandon Sanderson has excellent advice on how to develop nearly everything for a fantasy world. Truly, his social media and blog are an absolute treasure trove of advice.
While they’re called three rules, Sanderson takes pains to mention that they’re merely guidelines; indeed, they’re a bit vague in some ways.
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An author’s ability to solve conflict with magic is directly proportional to how well the reader understands said magic.
Magic with vague definitions or “it can do anything, really” isn’t interesting. While you don’t need to put down 1000 rules for how the magic works, the reader should have a general idea of how it functions, what it can and can’t do, and so on.
Otherwise, this nebulous magic becomes a deus ex machina that fixes everything and the characters don’t need to do anything. That’s no fun.
For example, look at the magic in The Lord of the Rings. It doesn’t really do that much – in fact, magic mostly causes problems rather than solving them. Most of the everyday stuff is done the normal way: hacking peoples’ heads off or shooting them. It’s background dressing to make things seem more awe-inspiring.
I did not like The Atlas Six, but I will admit that the magic system was quite well-defined, and thus it can be used to fix or break things. Everyone has their own specific specialties, and they don’t stray out of those boundaries. I just feel like the author didn’t do enough with those things and focused more on petty high school conflict rather than really showing off the power.
Probably because it was originally a Dramoine fanfic. Gag.
Back to a good author who writes good things. From that wiki, I really liked this specific quote.
“Hard magic” on the other hand has rules explicitly described by the author, meaning that the reader can understand the magic so that solving problems with it doesn’t seem to “mystically make everything better”. Instead, it’s the characters’ wit and experience that solves the problems.
This fits relatively well with my own magic system. High Poets commune with their goddess and write a poem, which can only be used once, to fit the circumstances. It has to be recited on the fly; everything comes down to the poet’s skill in developing something beautiful that also does the required task. The supplicant must impress the goddess and demonstrate why their request is important, hence the need for a pretty poem.
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Limitations > Power
Limitations are what make a magic system interesting. Endless power that fixes everything immediately removes all conflicts, and then there’s no reason for anyone to do anything without magic.
This is why you often see elemental magic, like in Avatar: The Last Airbender. It only works on air, or water, or fire, or earth, or whatever. Not only does this allow cooperation between different groups, but it also keeps characters from getting too overpowered.
When it’s not clear if something will work or if the plan is clever enough, then the reader is kept wondering about the outcome and wants to see what happens.
High Poetry also has a few limitations that are more well-defined than how it works. These include:
- Cannot be used as mind control on higher-order animals (dogs, cats, wolves, bears, humans, etc)
- Cannot be used to fix the human psyche
- Every poem can only be used once
- Is limited by how much strength and skill the poet has
- Can only be used in close proximity to the poet herself
This means that it’s often restricted to working on the environment or on small parts of the human body (not the mind). For example, one can use High Poetry to knock down a tree, or build a house, or enchant a sword at a time.
Because of these limitations, High Poets must use their critical thinking skills to decide if, when, and how to use their training.
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Expand on what you have already, before you add something new.
Sanderson’s quote here exactly matches how I also feel about magic systems.
“A brilliant magic system for a book is less often one with a thousand different powers and abilities — and is more often a magic system with relatively few powers that the author has considered in depth.”
One magic ability can actually be far more interesting than several if you’re able to demonstrate how it has impacted all of society.
High Poetry is central to Breme’s entire existence. Not only was it the reason the country was founded, but the High Poet Society is intertwined with commerce, religion, and government.
In some ways, relying on magic has kept Breme from advancing scientifically because they focus so much of their energy on doing what the High Poets can do. We see this starting in the fifth book, Absent All Light, where we learn that other countries have developed solar power but Breme has not. They have also remained isolated from other countries because they’re like “who needs friends when you have magic?”
I could have had Sina have its own warring magic system, but I didn’t want to. Rather, I wanted to see what happens when a highly religious, magic-infused society butts heads with an atheistic, technologically advanced one.
Okay, so now that we’ve gone over some rules, let’s look at different dimensions of magic systems that can spice up your work.
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Qualities of Magic Systems
These are not the end-all-be-all, but considering these elements may help you define your magic system, including its greater context in the world.
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Soft versus Hard
Soft magic is typically background magic, like levitating books, talking familiars, etc. You see it a lot in cozy fantasy, where it adds whimsy without necessarily solving anything. Terry Pratchett, while not necessarily cozy fantasy, used a lot of soft magic that simply exists without explanation for extra fun.
Hard magic has defined rules and is used to form the plot. Brandon Sanderson mostly uses hard magic, where we know what the limitations are and understand how it works. In many ways, hard magic works more like technology.
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Religious/Organized versus Elemental
Religious or organized magic is pretty self-explanatory: the power source is probably a god or another deified force. It’s more likely to be a closed system (more on that in a minute), and people who use it will belong to a specific group.
Elemental magic is simply part of how the world works, like gravity. Maybe some people are born with it, or some people can acquire it through hard work or serendipity. We don’t ask where it comes from and don’t need to know.
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Open versus Closed Systems
Open systems can be used by anyone who chooses to learn the skill. There may be institutions that teach people how to harness their innate power or learn the incantations through hard work. Think like wizards; anyone could be a wizard if they want to.
Closed systems are only open to certain people, whether they are natural-born magicians or have taken a vow of service. The magic secrets may be closely guarded, and there will be an aura of mystery around its workings.
High Poetry is a closed system: you are either born with it or you spend years learning how to do it, then undergo a brutal initial (the Sigillum) that bonds you to the goddess Poesy forever. You have to be accepted by an elder, skilled poet before you can even start training. It’s not open to the general public and never to men.
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Caste versus Public
This has more to do with how the magic system will impact society at large rather than the individual users.
A caste system has magic users who are part of a special class and considered separate from everyone else. There is likely a broad societal impact, where magic users are either elevated above others or are considered scary outcasts. Think like the mutants in X-Men.
Public systems will not have much social stratification based on magical status. While some people may be more talented than others, it’s expected that everyone will have a few tricks. Magic will be seen as commonplace, and those who can’t use magic for whatever reason will probably be shunned.
Now before you complain – it would be possible to mix and match open/closed plus caste/public.
For example, you can have an open caste magic system. This would be like career magicians, who had to go through years of study before they could learn the skill. There might be laws governing who can use magic, such as a licensing process where you can get your magic taken away somehow. Theoretically anyone could do it, just like anyone could be a doctor, but not everyone wants to go through the training and have that responsibility.
It would also be possible to have a closed public system. This would be something like where some people have “mild” magical abilities that aren’t treated much differently than, say, being able to wiggle your ears or whistle.
They may even be treated like petty annoyances: “Oh, damnit, Susanna turned into a rabbit again, and on the first day of school, too. Go get the witch doctor, please.”
In this example, the magic skills are innate, but they also don’t result in anything more than mild bullying or a bit of awkwardness.
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Chaotic versus Systematic
Chaotic magic will often have unintended side effects or cannot be easily predicted. Wielding it depends on the user’s skill and wit. Different incantations may work differently based on things like the moon phase, the user’s emotional state, the overall circumstances, and so on. This could be comedic or tragic based on your subgenre. (High Poetry is a chaotic and, at times, tragic system.)
Systematic magic is predictable, though users must decide how to apply the magic and in what circumstance. You may have a list of predefined spells that work for certain things. Think like Harry Potter spells.
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These Rules and Qualifications Allow for a Broad Range of Magical Systems
By toggling these different switches, you can create a magic system that is all your own.
For example, imagine these qualities:
- Soft: It is used as background information and doesn’t usually solve problems.
- Elemental: Magic is a natural part of life and not questioned.
- Open: Anyone can use it, though their skill will vary.
- Public: This is a well-recognized and accepted part of society.
- Chaotic: It is skill-based and can backfire.
This would be a great system for a fun, lighthearted cozy fantasy – and it would have far-reaching ramifications for society. I can think of some wonderful possibilities for this specific system:
Magic is highly regulated and there are a ton of laws governing its usage.
There’s a magical police department meant to track down infractions and fine malcontents depending on the severity.
Mischievous people take to forums to share tricks.
There might even be a type of sovereign citizen movement that’s all about “life hacks” around evading capture.
Magical history and usage is an important class in school. Children complain about having to turn in assignments on Magical Ethics.
Pharmacies and grocery stores sell “magic enhancement” pills and potions (that probably don’t work).
Magic manuals abound and are highly popular.
Everyday life is all about evading peoples’ rampaging familiars, complaining when the rain gets turned into pudding for the third time that week, and hiring Magic Catchers who exterminate magical experiments that went awry.
Or, we can go for an entirely different vibe, like this:
- Hard: There are clear rules, consequences, and limits for magic.
- Religious: The magic is provided by a deity.
- Closed: The system must be acquired or taught.
- Caste: Only certain people can use it, such as those who were born into witch families.
- Systematic: Spells have been handed down for generations and always work the exact same way, but you must have the innate power and the faith to use it.
This could work well for a sword-and-sorcery type of story, an epic adventure. You might have a young magic user who is being taught how to harness their power from an elder in order to use it against a powerful enemy. Some elements could include:
Magic users are rare and feared. They may be persecuted and may have to hide their skills.
Magical tomes are passed down throughout the generations. Maybe they are in a different language that hasn’t been translated perfectly, introducing bugs into the system despite its structured nature.
Users are fervently devoted to their deity and may be seen by outsiders as a type of cult.
Because it is rarer, not everyone will believe in the magic, especially if it is never publicly displayed due to fear of persecution.
Users spend a long time learning the limitations, the spells, and the proper application of their magic.
The users may be close-knit, which can lead to interpersonal fallouts if people don’t get along. There may be rival clans trying to destroy one another.
Some knowledge may be lost over the ages, requiring careful study or long journeys to recapture it.
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Questions to Ask about Your Magic System
When you build a magic system, you’ll need to prod a bit into it. Here are some questions to get you started developing your system.
What can the magic be used on? Are there different types that different people can learn?
What are the limitations of the magic? Do they change based on a user’s skill or are they hard-wired into the system?
What are the ramifications of using magic? Can it backfire, hurt the user, drain their strength?
Where does the magic system come from? Who provides the power? Is it the earth itself, cosmic energy, a specific deity?
Who uses it? Are there different levels of magic available to different people?
Is there a religious element to the magic or is it secular? Have people developed cults around the magic?
How does one acquire the skill? Is it innate, taught, a bit of both?
If the skill is taught, is there an initiation ritual? What does this involve? What do people think about it?
How is the magic performed? Do users say incantations, come up with their own spells, pray to their deity, or draw up power from the earth?
What is magically typically used on? Do people use it to grow more crops, build things, heal people, destroy things?
How does the public view the magic? Is it seen as a special and highly sought-after skill? Is it commonplace and uninteresting, a background hum in life? Is it scary, threatening, or outlawed?
What impact does magic have on society as a whole? Are magic users prominent in public life, or are they reclusive? Are there laws governing magic?
Are there mores and social contracts around magic? Have people gone rogue and used their power to hurt others?
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I adore a well-thought-out magic system; it’s the main draw to fantasy for me. However, a good magic system must be coherent, or you’re running into Mary Sue territory. People whipping spells out of nowhere or suddenly gaining powers that don’t make sense will frustrate readers, and they will lose faith in your writing ability.
You don’t need a million rules for your system; a bit of mystery can be fun and force readers to think harder. All you need is to demonstrate that magic has limits, is well-integrated into the world, and can solve (or create) problems that users must overcome.
When you have all those elements in place, you’ve hit the jackpot. Happy spellcasting!