While working on the proofs of my novel, Dragon Domain, I began to question how ethical it was to put much real magic should be put into a work of fiction? Is it responsible to give access to powerful magic to the uninitiated or was it my responsibility to be as accurate as possible? I debated with myself. With the popularity of Harry Potter drawing children into the genre, did I have the right to give them information they didn't have the maturity to understand. But then again my work isn't for younger children. Nor do I have the right to give out false information. It's not my responsibility to censor what others can read nor am I responsible for what they do with the information. After much thought and internal debate, I decided to keep the information accurate as possible; however, the results are some what fictionalized to keep a sense of drama. This doesn't mean that it couldn't happen, but that the rituals are unlikely to have the same results.
Most magic isn't as dramatic as it is portrayed in movies. The special affects make the rituals and the result more exciting. More likely than not, the results of most rituals are subtle and very personal, which are frequently seen or experienced by the individual or individuals involved, but no one else. Even when there is more than one person participating, each person can and do have different experiences. In addition, there are other elements that can alter the results. Time, place and the individuals involved can change the outcome. In Awakening the Dragon, Rachael sets her shields in her new home. She calls the elements in her usual fashion, however since she was in a place of power, the results were radically different from what she expected. Not only was she able to call the elemental guardians, but the spirit of the space appears as does the Mother Dragon. Through this combination, Rachael was able to set up special safe guards and prepare herself for the awakening of her dragon spirit. In Dragon Domain, a coven needed to contact some of the older earth spirits in order to protect themselves and bring about justice. The situation was beyond what they could deal with themselves so they called for help. When I originally wrote it, I altered the names of the Guardians of Justice. I didn’t want to take responsibility for another using the information incorrectly. However, if the person was determined, they could very easily find the information for themselves from other sources. By deliberately incorrectly spelling the names, I hurt my credibility and possibly interfered with a karmic lesson. Once again, I decided to be honest about the ritual. What others do with it is beyond my control and responsibility, but by keeping it honest, I have kept my honor.
I was curious to what other writers thought of the ethical challenge and took a non-scientific survey of other writers. Most of those who practiced magic in their lives put magic in their stories. Nearly all of the writers had more interest in making sure the magic was appropriate to the characters and the plot. That is where the agreement ended. Ina wrote back: “I think it is irresponsible to put (real) magic into a piece of fiction. For the simple reason (you) state--access and I further think it is interference to put magic into a work of fiction. There is no energy balance between writer and reader therefore the energy is wasted.” Rune in Reno wrote back: I try to teach mystical though and magical workings through fantastic settings. Where the magic won’t work QUITE the way it seems, it will be close. I teach real exercises like grounding and centering and stuff. I do workable rituals, which may not have the same results as the fiction, but they can still be used as inspiration.” Lady Etain from England had another view: “I think it’s good to have fake magic in stories because when it comes down to it, it’s fiction, and people simply like to believe. I also like to have real aspects included and the correct color correspondence, etc, because it adds realism to it.” Bjarka RavynWillow from Massachusetts believes that is ethical to put real magic in as long as the white magic prevails and not the dark forces.
Those that used magic both the real and the fictionalize did a great deal of research before including it in their work. So even if the ritual wasn’t authentic, it was still based in reality. In addition, they limited the amount detail to what was appropriated for the story and the character. The most common comment was that they didn’t want to stifle the readers’ imagination or get them bogged down in the small details. Many don’t do a step-by-step description because the magic is a tool in to create character and further the plot not the goal of the story. Overall, the writers' focus remained on the totality of the project instead of focusing only on the magical aspects.
The same questions were asked to readers. Those who wrote magical fantasy without a doubt loved reading it. Like with the writers, the readers’ answers were diverse, but all of them wanted the magic to be an element of the story and not an end in itself. Karen of New York wrote: I suppose because I practice it, I like it to at least be believable, and it is nice to be reading something in a fiction book and think ‘wow. I’ve done that!’ or ‘hey, I could actually use that’. What I don’t like to see is something that is so far-fetched and so “sci-fi” that it makes me roll my eyes. (I) would want just enough (details) to build on it. I suppose because not everyone who reads this kind of fiction is actually a practitioner of magic, it wouldn’t be wise to give too much or we’d have people trying things out with no background or preparation for the consequences.” While another reader believes that it’s not the writer’s responsibility. “The author writes a story...it’s up to the reader what they do with it. A crime writer writes crime in detail, but that doesn’t mean the audience is suddenly going to go out and start committing those crimes.” Chuck believes that if he wanted the facts, he would do the research and that fiction is fiction. GrannyMoon of the Goddess School wrote that she wants just the fine workings not long drawn out explanations. She also thought it depends on which magic’s are be written about. But she also believe that everyone needs a little magic in their lives Jeen Lilly from Connecticut gave the most encompassing response and the one that is closest to my own philosophy. “All magic is real on some level -- you might as well restrict prayers if you are going to prohibit real / workable magic. Casting a spell usually has components to it: physical representations symbolic of the elements and the effect you wish to work your will on. Spell casting invokes Sympathetic Magic at the most basic levels. Prayer, however is a direct appeal to greater powers, from your seat of divinity (soul) to the heart of your ... call it Patron Deity. Prayer doesn't require anything but the will to open yourself to direct communication, although you can ritualize your prayers by giving it the respectful 'duty / sacrifice' of grounding and centering yourself, calling a circle, lighting a candle -- in effect, casting a spell! I think with spell casting it can be a danger(ous) to put more emphasis and faith in the tools and trappings of spell work. This is usually a newbie pitfall. ‘But I followed the instructions perfectly, why didn't it work?! Magic is crap.’ Think of it this way -- a prayer that rises from the heart and soul supplants magical accoutrement's: but a spell that is not rooted firmly in the witches' will -- indeed, grounded and centered in prayer -- ain't worth diddly. This makes me think of the Hollywood stereotype of inexperienced neo-witches getting some sort of tool of power and wrecking all sorts of nasty magic with it. Power comes from the magic wielder. Intention is key."
Both writers and readers enjoyed the magical elements in found fiction as long as it was a part of the story or the character. Nearly all who answered my survey were grateful for the enchantments found in books like the Harry Potter series and shows like Charmed, yet they understood that they were fiction and not be confused with workable magic. The reality of the ritual was secondary to the entertainment value of the work. Like all novels, it came down to whether or not the story is a good read.
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