Forum: Author Hangout

As ever, AJ, you are the soul of helpfulness!

And, truly, you were helpful. My series involves a man sent back to 1973 by a goddess with the mission of shaping magic as it is pulled into the world. In so doing, he'll help avoid or minimize (probably the latter, I think) a future apocalypse caused by a sudden tsunami of magic sweeping the world. I'm at a point where the small group that's been drawn to him are realizing they have to grow and are wondering how to deal with the situation where they tell someone about magic and that person refuses to accept. Can they disclose to others? Maybe draw unwanted attention from the government or others? (There are also evil magical actors scattered around -- though right now they're more focused on self-gratification and self-preservation than taking proactive steps against the "good guys.") Can there be like a magical mind-wipe or maybe magically-binding commitments not to disclose?

I've already established that there is a tendency for NYMs (Not-Yet-Magicals) to ignore magical oddities around them (at least to some extent). Further, it's also begun to be clear that history won't easily change from it's prior course -- a sort of conservation of history.

As I wrote a previous response to your post which I managed to erase from my browser, I got what I thought was my answer: They may ignore magic, but magic won't ignore them. They have no choice about living in the world as it is. Magic is now reality, and they have to adjust to the real world. So, even if they think they can choose not to, once they become conscious of the existence of magic, their own magical capacities, limited though many may be, will activate. No, wait... that would make the spread of magic too easy. No challenge, no drama - just go tell everybody. More pondering...

Perhaps this might ease your dilemma.

People have both an Aptitude And a Resistance, that are not necessarily in balance.

Some have both high potential and low Resistance, so they can adapt to Magic and be changed by Magic.

I like that, and have built something like it in. It does turn out that people respond to magic differently, both on first exposure and once they are told about it and accept it. Different responses, different capabilities, and different capacities. And, the magic is fundamentally tied to sex, as in all sexual relations become a version of magical sexual slavery. The MC was horrified by the vision the goddess gave him of what this was mean and was sent back in time to change that outcome into something more positive as much as possible. (He doesn't know this. The goddess picked him because she saw that he would make such changes, but it is not conscious.)

My struggle right now is as the group goes from crisis-driven growth (fighting the magical evil actors) to a more intentional recruiting campaign aimed at developing a base for future fights and shaping a culture and technology that can survive magic. (In this story, magic eliminates human control of electricity and explosions, thus taking technology back to a starting point somewhere in the 1800s. What can develop from there, and the extent to which magic can replace aspects of technology will be part of the story.)

It's the whole gradual transition as more and more people become aware of magic that's giving me pause. Don't know how to navigate it. They need to be able to develop a magical culture - first living openly, which includes polyamorous relationships built on magical sexual slavery (but which they shape into something more - magical bonding). But they will also need to start developing new methods of living as magic in areas where they concentrate starts to exert its limitations on electricity and explosions. This all starts in a small town in Alabama, and I'm thinking it may become something of a "Brigadoon" - hidden from the rest of the world, at least for a time. I'm also thinking that the Not-Yet-Magical will have something of a "see no magic, hear no magic, do no magic" response that will help hide magic from the NYM world for a time, maybe coupled with magical clean up squads that wipe memories in certain cases. All as a delaying action so magic can establish itself in a parallel society, ready to become a functioning base for a new way of living at some point. Eventually, there will be something of a magical tsunami that floods the world with magic. The question is just how ready this small team can make the world for that eventuality. Oh, and their operating instructions from the now-incommunicado goddess weren't all that clear on that point!

So, really (and these conversations have helped me work this out), my current dilemma isn't that big. Just need to show the first inklings of some of these developments in this very early stage. Now, what would that look like...?

Good questions, especially because readers will ask the same questions. The key is that magic works by intent and imagination. The god who initiated the flood of magic into the world and the goddess who seeks to push that introduction back in time and make it more gradual set the basic parameters with their intent and imagination. The intent of the goddess is to limit technology to what can be done without control of electricity and explosions. And, yes, the later was primarily aimed at guns and "internal explosion" engines. So, the story developed without any attempt by me to reconcile magic with the basics of physics and chemistry.

However, one of my characters is a genius with a gift for physics and chemistry. What happens when he starts combining his deep intuitive grasp of science with his magical capacity through his imagination and intent? Ultimately, the will of the goddess -- to limit technology so automation doesn't make great swathes of humanity unnecessary -- will prevail. But she (me?) will, I think, be surprised by the what people accomplish with their imaginations and intent!

No, wait... that would make the spread of magic too easy. No challenge, no drama - just go tell everybody. More pondering...

You could always throw in an opposing force. Perhaps something inhuman. It actively wants the magic tsunami disaster to happen and wipe out most of mankind, so it can take over the world.

You could always throw in an opposing force. Perhaps something inhuman. It actively wants the magic tsunami disaster to happen and wipe out most of mankind, so it can take over the world.

Yes, yes! I've got evil magic actors, and they've driven the action some to this point, but they've "gone to ground," denning up to accumulate power and protect themselves. So, the good guys have a respite and time to grow and develop - they just don't know this and are only starting to realize they have to grow the magic community to minimize the damage of what's coming -- which they do know.

My dilemma right now is this transition phase. What happens as they grow the magical community, especially since not everyone who is exposed to magic reacts positively. Some are repelled. And, as the Not Yet Magical world learns of them (assuming I don't do a "NYMs ignore all magic" solution), how will they react? It's only the word of the Agent the goddess sent back, corroborated by them being able to experience magic, that convinces his team to join him. What if the NYMs learn of magic and decide it is just as likely that he and his team are the ones creating the problem and if they get rid of them, the whole thing will go away? Then I've got a three-way conflict, but at least initially, with the NYMs unaware of the evil magic contingent.

Uh... I think I just answered my question. I really like that scenario! Although, I'm a little afraid I'm not up to writing it! Oh, well. Doing this for fun and to grow. Y'all are helping by bouncing ideas. Thanks!

Here's a thought: have the magic become active when they become aware of it.

So, they wouldn't be able to say, run to the government because they would have magic also?

Darian, re-reading your post, I think I didn't really catch it the first time through. No clue why not. The dynamic of not being able to ignore magic once they learn of it is actually in the story. How did I miss that in your post? Anyway, thanks. When I re-read, your suggestions clicked with me and I understood how they connect with what I've done and gave me some insights for next steps. Much appreciated!

DS, you are absolutely right. Anything would be better than remaining stuck. I may want to keep a little more control of the direction of the series, but, yes, just make a decision and move on! Thanks.

dice

The singular of dice is die. Or maybe not.

"Dice Vs Die – Which Is Singular And Which Is Plural?

| GRAMMARIST

| USAGE

Whether you're playing board games at your friends' dining-room tables or going to the casino, you're likely to use dice. It's the six-sided cube one uses to bet and take turns.

What's the difference between die vs. dice? Take a look at how these words differ and how to use them in sentences.

Is Dice Singular Or Plural?
Dice can be used for both singular and plural forms, whereas die is singular. If you roll a die, you are rolling one game piece. If you roll dice, you are using one or more game pieces.

Dice or Die – What's the Difference?
The singular form for dice is originally die. But modern English now considers dice as both singular and plural nouns because of how language evolves.

First, let's establish that die and dice can both be nouns. They also have one definition in this context.

Dice is a noun that can be singular or plural if you're using modern standard English. It means "a tiny cube with different 1 to 6 dots on each side." If there are two of these items, we still refer to them as dice.

Die, which originates from the French word des, is the original singular form of dice. It's also a cubed game piece with different amounts of dots on each side. We see these game pieces in board games, betting games, role-playing games, and table games.

Examples
Dice has become more common than its singular form, so many writers forget to use die at all. Here are some examples:

If the dice is rolled and there is a choice, what do we need to consider?
It's my turn to roll the dice.
You don't need a dice for a game of Uno.
The singular noun form die was more common in earlier times, such as in Julius Caesar's the die is cast. But he initially used the sentence in Latin.

If we continue using dice as a singular noun, we may accept the change in its use. Language authorities like the Oxford Dictionary accept it already. But formal and careful writers still use die.

What are Irregular Plural Nouns
Ideally, we use the plural form by adding -s or -es. But irregular plural nouns like dice change their spelling. For many historical reasons, die becomes dice, and mouse becomes the noun mice. Ox even becomes oxen!

One common rule in using irregular plurals is replacing -f and -fe with -ves, such as knife with knives. Another guideline is to change vowels, like foot and feet.

How to Use Dice in a Sentence
Some people confuse these terms as homophones, but they're not. If you're following modern grammar rules and using dice in singular or plural form, you may consider it a non-count noun. But if it's strictly in plural form, dice is a countable noun.

Here's an example of dice in singular form:

The dice was already rolling when Ken decided to join the tabletop game.
How do you know that dice here is in singular form? Take a look at the verb phrase, "was rolling". The helping verb "was" is in the singular form to agree with the singular subject, dice. If we say that the dice were rolling, they could be using two or more game pieces.

Examples of the Singular Dice in Sentences
The way the dice is loaded, as things stand, the company takes on interest-bearing loans and, in turn, advances interest-free loans to its 100% owned subsidiaries. [Equity Master]
I got this dice from my uncle's antique store.
Players take turns rolling the die and then drop whatever piece the die chooses. [Chip Chick]
Could you not touch the dice while it's rolling?
If the dice is rolled and there is a choice, what do we need to consider? [Irish Times]
While the word dices exist, it does not refer to the plural form of dice. Remember that dice is already in plural form. Read these examples of the plural dice in sentences:

My father used to collect unique designs of dice.
I have three extra dice in case Shannon loses them.
How to Use Die in a Sentence
The word die might be a confusing noun because it's not common anymore. But it's simply the singular form of the tiny object with numbers 1 to 6 on each side. Here are some examples of die in a sentence.

We can't have family game night if we don't have a die.
Players need to take turns rolling the die.
A die will be rolled in front of the audience, and the result will determine which half of the dance goes first and which score, costumes, and lighting will be used. [The Detroit News (article now offline)]
Die is also a verb that means to cease living. Die as a "singular game cube" and "to stop living" are examples of a homonym. Check out these examples of die in the verb form.

She died peacefully in her sleep.
What happens when an engine dies while I'm driving?
Trick to Remember the Difference
One way to memorize die and dice is to remember that die is shorter than dice. It has fewer letters, and singular nouns are fewer than plural.

Dice also sounds like it ends with a letter S. And you know that regular plural nouns end with an s.

In Conclusion
Die and dice have identical definitions. But their difference lies in whether it's the singular or plural form.

Use dice in its original plural form or singular form for informal or modern sentences. And use die as the singular form of die."

Yikes! That would be fun. But, I'm on book five and over 650,000 and not yet six full months into the alternate timeline! I expect the pace to pick up, or to skip some years, but, yikes! I'm not sure about finishing the story (which is partly why nothing is published yet) in one arc, so I may have to resist the temptation to try for multiples!

AJ, thanks for this. Great insight, and not an obvious one. It got me to both exploring the plot-character spectrum. I'm definitely a plot-driven writer, and the first three books in the series had external drivers in the actions of the evil magical antagonists. However, for reasons that make sense to me in the story, those actors had to go into the background for a while. Now, the conflict is between the world as it is and the world as it will be shaped by the magical team that has gathered around the goddess's agent. And that shaping comes from who they are.

This is where some of my personal conflict comes in. Though I'm drawn to and tend to write plot-driven stories, I LOVE characters. I've got some formal study of psychological research in my background and it comes out. So, in the 4th and 5th books, the plot is driven more by the choices of the characters rather than by external events, so the characters become important. And, since it's now an ensemble story, there are SO MANY POSSIBILITIES. Yup. That's the problem. But your comment really helps. Pick the characters and their choices that drive the story, especially in unexpected directions. Thanks. Very helpful. I hope you provide that kind of help to authors on a regular basis!!

Thanks! A lot of truth in what you say!