The High Price of Magic
Everything in life carries a price. It’s a law so universally understood that we feel it in our bones. Yet when we deal with fiction, some writers forget to consider the high price of magic.
The renowned author Nancy Kress has pointed out that a defining moment in her career came when a fellow writer pointed out to her that she needed to consider the economics in her stories—whether they were fantasy tales or science fiction. In other words, she needed to consider the cost of wielding power. With the very next novella she wrote, Beggars in Spain, she delved deeply into the realms of economics, politics, and questions of equality—and won both the Hugo and Nebula awards for her work.
There are magic systems where magic doesn’t carry much of a price. For example, in Disney’s Sleeping Beauty, the fairy godmothers cast spells on a whim and anything is possible. But when anything is possible, then nothing in the story can really matter. The audience feels that at some deep level, and so there is little tension.
Now, the movie Sleeping Beauty works in part because it is a lighthearted fantasy, a comedy with no tragic overtones, and is appropriate for young children.
Yet for most fans, that just doesn’t work. Moving an object requires energy. If you want your wizard to move a mountain, then you must consider where that energy comes from, how it is applied, and what the magician must do to harness that energy.
For a story to be truly convincing, there must be a cost to the magic. For example, in the book Lord of the Rings, Frodo Baggins carries a cursed ring to the Crack of Doom to destroy it. He manages to get the job done, but he does it by putting a curse on Gollum, telling the wretched creature that if he ever tries to steal the Ring again, he shall be thrust into the Crack of Doom. Later, Gollum does exactly that, biting off Frodo’s finger and then dancing in triumph—until he slips into the Crack of Doom.
Thus, Frodo used the Ring to cast his curse, and eventually loses the very thing that he fought to protect—his beloved Shire. That is the price that he paid to use magic.
Similarly, if you study the tale of King Arthur, you will find that Arthur uses the magical sword Excalibur in an attempt to bring peace to Britain. But that sword too is accursed—created by the Fey—and despite his best efforts, Arthur’s attempts yield him nothing but an ignoble death. Despite the way that modern audiences love it, Arthur’s story was devised as a cautionary tale against using fairy magic or consorting with otherworldly creatures.
In my own Runelords fantasy, I establish the rules very solidly. A lot of fans have suggested ways that we could “fix” the magic system so that it doesn’t cost so much to those who give up an attribute, but to do so would be a mistake.
In my book Million Dollar Outlines, I talk about the idea that there are only a few possible outcomes to a story that are highly satisfying. I’ve found that when judging stories for Writers of the Future, my panel of judges will almost always give the award to the story that wrings the most tears from the reader. They usually pick the story where a protagonist wins what he wants, but must pay a high price to do so.
This rule is pretty universal. The price doesn’t need to be excruciating, but it does need to be there.
In fact, here is a secret to writing a good fantasy: the price of the magic must be bound up into the very source of the magic.
Of course, this doesn’t apply just to fantasy. It also applies to science fiction. Any powerful technology generally comes with a price, and the more powerful the technology is, the higher the price.
Thus, when you read a tale like Dune, young Paul Atreides goes to a planet where breathing the very spice-laden air gives him tremendous prophetic powers, so that he becomes almost godlike, but in doing so he becomes a target of jealous lords and ends up losing the woman he loves and his own humanity.
I could go down the list for hours, showing how in ancient fables the gods gave power to men, often only to teach them a hard lesson.
The same is true with any other system of power. If you want to delve into politics, there is a price to be paid. If you want to join a gang, consider the cost.
Even if you just want to write, there are certain costs. Fortunately, the benefits for writing generally outweigh the costs.
– We still have space in the upcoming Writing Enchanting Prose Workshop in Provo, Utah, and we also have openings in the Fantasy Writing Workshop in Oxford, England. Several people have asked about bringing their spouses to England, and I want you to know that that is fine—they’ll be welcome to join us on field trips to Stonehenge, London, and elsewhere. I’m bringing mine!
Learn more or register here.
– Recently, a young writer stopped me and suggested that I start a Patreon account so that she could pay a small fee for my online writing tips, so we’ve got one set up.
As of today, we’re starting a new “mentorship program” where you can pay a monthly fee to get access to my online writing workshops (auditing them), and also get on a monthly call where you can ask questions, and so on. It will be $50
In the next few weeks I hope to take this even further and begin a video blog with the writing tips, with proper lighting, sound equipment, cameras, and so on, which means I’ll be going to greater expense.
If you would like to help, go to my Patreon and set the price for your own donation. It would be greatly appreciated.
Here is the link: https://www.patreon.com/DavidFarland