Gather dirt/sand/whatever from places where you feel a lot of good energy or where a lot of people are happy! (I.E. amusement parks, beaches, etc.) this can be use in happiness or good energy spells! Conversely gather dirt/sand from areas with bad energy for cursing!!
Hey guys, today we’re gonna talk about mimetic words
and onomatopoeia in Japanese! Mimetic words, just like onomatopoeia, are words
that phonetically resemble the source of sound that they’re describing – they
mimic sounds, feelings, and senses! You will often see these mimetic words and onomatopoeia in
either ひらがな or カタカナ! It doesn’t really
matter which one you use.
Animal and Human
Sounds・擬声語・ぎせいご: Bear・ガオー・Roar Bee・ブーン・Buzz Cat・ニャー・Meow Cow・モーモー・Moo Dog・ワンワン・Woof Duck・ガーガー・Quack Fox・コンコン・??? Frog・げろげろ・Ribbit Horse・ひひいん・Neigh Monkey・ウキウキ・Oo-oo-aa-aa Mouse・チューチュー・Squeak Pig・ブーブー・Oink Sheep・めーめー・Baa
Child crying loudly・うわーん Chuckling secretively・ウフフ・(´∀｀*)ｳﾌﾌ Clearing your throat for attention・おほん Loud laugh・アハハ Speaking a foreign language fluently・ぺらぺら Surprised scream・うぎゃー Unable to contain laughter・クスクス
and Nature Sounds・擬音語・ぎおんご: You will often see 擬音語used in
Bursting into flames・メラメラ Heavy rain pouring down・ザーザー Rock tumbling down a hill・ゴロゴロ Running at full speed・タタタタ Stepping on dirt or sand・サクサク Thunder rumbling・ゴロゴロ Water bubbling gently・こぽこぽ Movement and Motion・擬容語・ぎようご: Asleep・ぐっすり Fast paced walking・すたこら Joints shaking・がくがく Nodding off・うとうと Trembling from cold, fear, or anger・ブルブル Wandering aimlessly・ウロウロ
Feelings・擬情語・ぎじょうご: Excited from anticipation・わくわく Fascinated by something beautiful・うっとり Happy, full of hope・うきうき Running around hurriedly・あたふた Throbbing pain・ずきずき Worrying about the past・くよくよ Worrying or wondering what to do・もやもや
This recipe is to bring to mind the forest and can be used as a substitute for a forest.
1 cup Dirt or craft
cone/bunch of needles and/or an acorn
1 tsp river water
or purified water
1 inch of moss (wild-crafted, or craft supplies)
stone, preferably from a forest
1 candle and/or incense that reminds you of the forest
Step 1 - Prepare your ingredients and create your space for magic, however your normally do it. Then light your incense and a candle. Play soothing forest sounds, maybe add some rain (check out Rainy Mood).
Step 2 - Think of being in the forest, and add your dirt/sand by hand into your jar. Feel the earth in your hands. Smell the dirt. Next add a few drops of your water and smell the way the dirt changes scents (just enough to get it damp, not to make mud).
Step 3 - Add your stone, and then place your moss on the stone. think of the boulders and trees you see with moss growing on them in the forest. Add a pine cone or needles, smell the sap, and see the trees. Add an acorn and think of the way life grows in the forest.
Step 4 - Pass the jar through the incense or over the candle 3 times. Chant or envision the jar turning into your forest. This jar is a safe place for a forest to grow. Place the lid on the jar and wrap the twine around the top three times, sealing the forest inside of the jar.
Now you have a mini forest in a jar! Use as a mediation method or to bring the energy of the forest to spells or altars. Open the lid and breath in the scent of the forest to calm down. If anything sprouts, such as the pine cones or acorn, or the moss grows, you can return them to the forest the next time you visit, or plant outside/in a pot.
His finger was on the trigger. He closed his eyes and thought about Diana.
Steve Trevor had known he loved her the moment he laid eyes on her. From the second he’d sputtered alive again, coughing the sea water from his lungs and looking into the eyes of an indescribably beautiful woman. He’d been in love even then.
But of course the only time he could think to tell her was when he’d made up his mind. Do nothing or do something. And his ‘something’ had turned him into a dead man walking.
She couldn’t even hear him. Her ears were ringing. He knew that look well.
Maybe it was better this way. Maybe he’d even done it on purpose. Sounded like him. He always got it wrong. Or maybe he got it just right. Either way, it was typical.
He pushed all of that out of his mind. He had seconds left on this earth and he wanted to spend it thinking about her.
After the British Expeditionary Force’s retreat from Dunkirk in June 1940, Germany was expected to attempt a full-scale invasion of Britain. In order to accomplish this, they would need to eliminate the Royal Air Force, and as such, the RAF’s airfields were at serious risk. The RAF wanted a Schmeisser-type submachine gun issued to their personnel in the event of an attack from German paratroopers. The Navy had already ordered 2000 Smith & Wesson 9mm carbines and the Army, who by now had realized that they had vastly underestimated the military effectiveness of the submachine gun, began buying Thompsons from the United States.
The Biwarip machine carbine, an early precursor to the Sten made in 1938 and tested by the Small Arms Committee. Remarkably modern for its time.
The RAF initially examined captured MP-38s and ordered 10,000 British-made copies, but there were complications that resulted not only in the weapons being changed from copies of the MP-38 to the MP-28, but also the order being increased to 50,000 to satisfy the Navy as well, who had been forced to abandon the S&W carbines due to serious malfunctions. Sterling Armaments Co. was contracted to produce the initial prototypes of the MP-28 copy. The resultant weapon was finished, in the form of two pilot guns, in late 1940 and demonstrated on the 8th of November. The pilot guns were designed by George Lanchester and thus were named after him.
Lanchester Pilot Gun 3. For whatever reason, this model appears to have no rear sights. It was tested in November 1940.
Lanchester Pilot Gun 4. This is the model used for endurance trials and was essentially the finished product. Tested on the 28th of November 1940.
The Lanchester pilot guns were tested again on the 13th of November 1940 and were tested with a variety of 9x19mm catridges, including Winchester flat-nose, ICI, Bergmann, Beretta, and German military issue. The first pilot gun failed to discharge the Winchester and ICI ammunition, but the second did not run into any major issues and was considered on-par with the German MP-38.
On November 28th, further trials of the Lanchester pilot guns took place in the presence of both George Lanchester and Major Reginald V. Shepherd of the Design Department at RSAF Enfield. The Lanchester was now in its fourth pilot gun form and fired 5204 rounds with 26 stoppages. It passed all the mandatory tests but did not function when loaded with Beretta-made ammunition. Otherwise it was considered good to go and production rights were handed over to the Royal Navy for immediate manufacture as the Lanchester Mk.I. This weapon was issued to the Air Force and Navy until 1941, when it was simplified as the Mk.I*, which had no fire selector and fixed iron sights.
The Lanchester Mk.I. Known as the “British Schmeisser”. It was heavy, sturdy, and solidly built - typical of Naval manufacture.
The Lanchester Mk.I*. Fully-automatic only with fixed iron sights. Many Mk.I*s were simply modified Mk.Is, but were not marked as such.
The Lanchester was good but production costs were too high to equip the army. Something cheaper and quicker to manufacture was sought. In January 1941, an extremely simplified model was designed by George Lanchester and demonstrated at Enfield on the 10th of January 1941, and at Hythe on the 21st. The prototype was essentially a Lanchester stripped down to the bare minimum. It consisted of a simple tubular body made from steel and grips made from Tufnel. It was supposed to have a folding buttstock but for whatever reason this was never fitted. The only real change to the base design was the inclusion of a fire selector just in front of the trigger grouping. Otherwise it was internally the same as the Lanchester Mk.I.
A second simplified prototype was also conceived by George Lanchester and differed in that the cocking slot was now on the left side of the gun and had a much lighter bolt which was about an inch shorter than the original. The grips were redesigned to be more ergonomic, and a simple single-strut stock was fitted to the rear of the pistol grip.
The first simplified Lanchester prototype. Essentially the forerunner to the Sten. The cocking slot has a safety recess.
The second simplified Lanchester prototype. This version had left-hand cocking and a three-position fire selector.
Both simplified prototypes of the Lanchester were tested but rejected. But from this concept, the Sten was born. It was developed in early 1941 by Major Shepherd and Harold J. Turpin, who worked at the Design Department at Enfield. Thus the weapon was christened the STEN (Shepherd, Turpin, ENfield). The design was an incredibly simple blowback system based on the Lanchester with a fixed firing pin and simple cylindrical bolt. The first version of the Sten, the Mk.I, had wooden furniture, a conical flash hider, and a hinged fore grip, a feature not seen on any of the subsequent models. The Mk.I was cheaper than the Lanchester but still too expensive; it was simplified further as the Mk.I* in late 1941. The Mk.I* ditched the wooden embellishments, the flash hider and the fore grip feature. Throughout 1941, over 100,000 Mk.I and Mk.I* Stens were produced and issued to the army.
The Sten Mk.I. The original model of the Sten, with features such as a folding fore grip and a flash hider that were not seen in later models.
The Sten Mk.I*. The first of many steps to simplifying an already very basic gun. Although production was somewhat brief, thousands were made.
In mid-1941, the Mk.II Sten was designed. It was a bare-bones version of a gun which was already very basic. The main difference between the Mk.I and the Mk.II Stens was that the Mk.II had a new barrel that could not be interchanged with the original Mk.I barrel. The Mk.II barrel had only two grooves whereas the Mk.I had six. Externally, the Mk.II was incredibly minimalist. There were two main versions of the Mk.II produced: one with a wireframe stock and one with a single-strut stock. Neither were particularly pleasant to shoot, owing to the poor ergonomics. The upshot of all this was that the Mk.II Sten was incredibly cheap to produce en masse for the army and, as an added bonus, proved very easy for anti-Nazi partisans to copy in workshops.
The Mk.II Sten was tested at Pendine on from the 7th to the 25th of August 1941 and a glaring fault was discovered. The magazines were made from stamped sheet metal, which meant that the feed lips were prone to failure. If the magazine feed lips were misaligned even slightly with the magazine well, the gun would jam. The magazines were also highly susceptible to dirt and sand. All of this basically meant that the Mk.II Sten was highly unreliable if not handled with care, and even then it was probably inevitable that it would fail at some point during the heat of battle. But the army was faced with a choice between a mass of unreliable Mk.IIs, or a handful of Thompsons, Lanchesters and Mk.I Stens. They opted for the former.
The Sten Mk.II. The most successful version of the Sten, with several millions being manufactured during the war and used by various countries.
The Sten Mk.II with bayonet and single-strut stock.
Prototype T42 submachine gun, based on the Sten Mk.II. It had a single-column magazine and a redesigned trigger group.
Sten Mk.II with SMLE stock. This was made as an experimental model only and never issued.
Sten Mk.II with wireframe pistol grip, designed for paratroopers.
Copy of the Sten Mk.II made in a workshop by Danish partisans.
The Mk.II Sten was by far the most successful model of the Sten gun, with over 2,000,000 being produced throughout World War II. It was first issued to British and Canadian troops during the raid on Dieppe on the 19th of August 1942 and continued to be issued until 1945. It was also issued in considerable numbers to the Free French Forces, including the French Resistance.
In 1943, the toy manufacturer Line Brothers Ltd. were contracted to produce the Mk.III Sten, which was made from a single, riveted sheet metal tube that was welded at the top. The ejection also had an extra safety precaution that consisted of a simple finger guard. The barrel was fixed inside the tubular body, which could not be disassembled. In Canada, the Mk.III was manufactured by Long Branch Arsenal.
The Sten Mk.III. Manufactured by Line Bros. Yet another simplification to lower the cost of manufacture.
On the other hand, this prototype Mk.III with a wooden SMLE-style stock would have been substantially more expensive to manufacture.
An experimental Mk.III made at Enfield. The trigger grouping is level with the ejection and the cocking handle is on top.
The Mk.IV was the only one of the Sten “marks” not to be issued to the army. In fact, it never evolved past the prototype stage. It was designed in 1943 with paratroopers in mind, with a shorter barrel and folding stock. The first version of the Mk.IV had a conical flash hider and a very unusual pistol grip and trigger guard arrangement that was designed to facilitate for thick winter gloves. It was a mere 27 inches in length. After it was trialed at Pendine at rejected for improvements, a second version known as the Mk.IVB was developed which was designed to be fired with one hand. To achieve this, the balance of the weapon was changed by moving the trigger grouping forward to the middle of the gun. The trigger mechanism had to be completely redesigned to allow this. It was 24 inches in length but uncomfortable to fire. Besides its flaws, there was no immediate requirement for the Mk.IV model so it was never developed any further.
The Sten Mk.IV. Produced as a prototype only. It was designed for paratroopers and soldiers operating in cold weather conditions.
The Sten Mk.IVB. Designed to be fired one-handed. The shortest version of the Sten by far, it was more a machine pistol than a submachine gun.
The Sten Mk.IVS. A silenced prototype of which only one was ever made.
In 1944, the Mk.V Sten appeared. It was a much more presentable weapon and a far cry from the crude Mk.II The Mk.V featured a wooden butt, pistol grip and fore grip. The fore grip was ditched in later models. The front sights were also redesigned and lifted from the No.4 SMLE service rifle. Internally, the bolt was improved with a cutaway that cleared the trigger disconnector when the bolt came over the sear. The resultant weapon was of excellent quality and made to a much higher standard than its precursors. Unfortunately, cheaply-made magazine were still being issued and consequently the Mk.V was still just as liable to failure as the earlier models, although this was not the fault of the gun itself.
The Mk.V Sten was issued extensively to paratroopers after D-Day and saw considerable use during Operation Market Garden in Arnhem, and issue of the Mk.V continued until the war in Europe ended in May 1945.
An early model Mk.V. This version had a fore grip which was not seen on later models. The stock could be detached for paratroopers.
The Sten Mk.V. The most polished version of the Sten manufactured during the war. It was much more reliable than the Mk.II and was issued in 1944.
Many variations of silenced Sten guns were also developed. British interest in silenced weapons began in 1940 when British Commandos demanded a quiet gun for eliminating lone sentries during covert raids. Initially they were issued silenced Thompsons made by RSAF Enfield, but these were too heavy and expensive to deploy in any numbers. When the Sten Mk.II appeared, Enfield developed a suppressed model called the Mk.IIS. It was designed by a Polish exile who was now serving with the Special Operations Executive, Lt. Kulikowski. The suppressor consisted of a series of metal cups wrapped around and in front of the barrel, with a rubber plug at the end. When the weapon was fired, the gases seeped out the sidewall of the barrel and their energy dissipated. The bullet traveled through the metal cups and penetrated the plug, which prevented the gases from escaping. These metal cups were encased in a perforated jacket which was surrounded by an additional jacket.
Prototype Mk.IIS. The silencer contained 24 baffles. With so much weight at the front end and so little in the stock, it would have been awkward to handle.
The Sten Mk.IIS. The most successful silenced weapon of World War II.
The Mk.IIS was issued to Commandos, the SOE, and other British special forces units, as well as resistance fighters across Europe. It was designed to be fired in single shots. Reportedly, the sound of the bolt was louder than the gunshot itself. The main drawback of the Mk.IIS was that it had an effective range of only 100 meters.
Sten Mk.II with an SOE-made silencer and basic wooden stock, issued to special agents in France.
The Sten Mk.VI. Basically the Mk.IIS principle applied to the Sten Mk.V. It replaced the Mk.IIS late in the war.
Late in the war, the Mk.V Sten was successfully silenced using a similar principle and this model was called the Mk.VI. It did not see as much use as the Mk.IIS but was probably, all factors considered, the best silenced weapon of the war. It was succeeded by the Sterling L34A1 silent submachine gun.
Writing 101: The Ultimate World Building Answer Sheet
I know a lot of you are budding writers, and I know a lot of people put world-building up there as one of the toughest things to do.
Below the cut is an EXHAUSTIVE list of questions that, as a writer, you should be able to answer. By the end of the book, unless information is privileged for plot reasons, your readers should be able to answer a lot of this too (some stuff is more plot-specific). A big part of world-building is just making sure you are aware before you begin writing it, and you can drop hints in here and there as throwaways and descriptions.
This is not character building, so much as world-building and information you can use to build auxiliary characters that aren’t necessarily mains in your story. This list is based on sci-fi/fantasy for the most part, in non-earth worlds.
I’ve tried to arrange the list into some kind of order, but if you just sit down and write out an answer to each question, i promise you’ll find it helps you later on. You don’t need to specifically answer each question within your story, but just sitting down and writing it all out, even if you already KNOW your setting, might really help solidify your vision down the line.
Apologies to those on mobile who are subjected to the full list :)
all things in the pagan community, I advise you research twice then come to
your own conclusions. Your craft is YOUR CRAFT, this may not be a perfect fit
for you, that it okay. We are all the
tailors of our own spiritual clothes.
course will cover basic terms and tools, the beginner’s theory and practice of
simple rituals and how to construct your own spells.
Things that will NOT be covered in this
course: In-depth explanations of the various areas of magic. I will provide a
basic grand overview, but the purpose of this class is not to delve into any
one concentration of practice. If something you hear strikes your interest,
please feel free to ask me for more information. If I don’t know about what
you’re asking, I’ll find someone that does.
The only thing you need to cast any spells
whatsoever, is a witch. If you’re sitting in for this course, that’s probably
you. You can call yourself any title you choose, practitioner, wizard,
sorcerer, magician, crazy person, spiritualist, whatever… Anyway, to perform
magick, that is the manipulation of energies to bring about an intended result.
This can be done with or without the assistance of deities or entities outside
Generally all workers, even secular ones, have some sort of altar to
use as a work space. These are highly personal spaces. They can be simple,
grand, portable, stationary, cluttered, clean, whatever you like. It doesn’t
have to be fancy or expensive. In traditional Wicca, every tool has a place on
the altar. This is by no means is something most practitioners still prescribe
to. What you choose to have and use in your practice can be as minimalist or
extravagant as you like. You can have all the tools or none of them. It is
entirely up with you.
Statues, fetishes (these are small
carvings,) or some kind of physical representation of gods or goddesses. Many
consider this to be the house that you invite spirits, deities, or entities to
inhabit when calling them for spells or rituals. Obviously if you’re secular
this won’t be part of your practice.
Candles- Let’s be honest, an altar without
a single candle, led or traditional, is a rare one indeed. They’ve a million
uses in spells and have their own branch of magic aptly called candle magic.
Bowl- For keeping stuff in. When doing an
elemental spell this is usually used to hold water, sand, salt, or dirt, but it
can hold anything that needs containing.
Athame- This is a ritual knife. Some people
use swords or daggers, some people use a grubby old pocket knife given to them
by their great uncle. This is generally used for cutting or directing energy.
It is not always sharp and there is a little bit of argument about whether it
should be used for non-ritual purposes. Some say daily use dulls the magick
inside it, others say it enhances it. I say, it is your knife, use it for what
Bolline- A utility knife actually used for
cutting physical objects. If you use your Athame as a functional knife you
probably don’t need this.
Cauldron- If ever there was an image of a
witch it was an old crone bent over a cauldron
stirring away at something nasty bubbling over a fire. These can be used
for bubbling toil and trouble, but also for a holding place for burning things.
Wand- Generally a thin stick thing for
pointing and directing energy. This can be a myriad of objects from one’s
fingers, pencils, spoons, actual sticks or specially crafted wands. Don’t let
anyone tell you something can’t be a wand.
Mortar and Pestle- A small bowl with a
little club for crushing, grinding and mixing herbs and spices. Be advised that
wood, plastics and porous stones can pick up scents and flavours from the
things you put in them. Do not use the same set for non-edible items that you
do for ones you intend on eating.
Chalice- Fancy cup. Usually used for
offering drinks to entities or passing around the group in a coven ritual.
Traditionally this is in a goblet shape, but I’ve used a coffee cup in a pinch.
Make sure whatever you use is food safe and easy to wash. Do not leave
offerings sitting it until they get fuzzy.
Incense- This is sometimes used to
represent air in elemental workings. It is best to avoid purely synthetic
scents when possible. These will require some kind of holder. A fireproof
container filled with sand can serve just as well in a pinch. If working in a
group please be sure to ask about allergies and sensitivities to scents.
Grimoire- This is a witch’s go to book for
all things that are important enough to write down. Just like a woman’s purse,
one should never open and look through another person’s grimoire without
express permission. Taking things that are not freely given from it is
dangerous at best.
Broom- Used for sweeping energies,
especially negative ones. Is wonderful for dissipating said energies. Not for flying on. Sweep your floor and get
the dust out along with the bad stuff.
Drums/bells- Sound can be useful for wards,
driving away negative energy and calling attention. They’re also great for
keeping time when dancing in a group.
Baskets, bottles, bins- For keeping stuff
in. Don’t laugh.
Bucket of water/fire extinguisher- Candles
can go from representations of fire to “oh shit my house is on fire” very
quick. Safety first.
Stones, crystals, cords, fabric, oils,
herbs, salt, flour, chalk - spell ingredients. They’ll end up everywhere unless you
contain them in the baskets, bottles and bins I mentioned earlier. DO NOT CAST CIRCLES OUTSIDE USING SALT. IT
WILL KILL WILDLIFE.
Ritual Clothes- Special clothing is by no
means a requirement, actually some people say this separates them too far from
their craft, like putting on a costume. Others say it enhances the ritual
experience for them. Whatever you are comfortable wearing should be what you
practice in. Skyclad is a way of referring to being naked, by the way.
Divination tools- Tarot cards, runes,
scrying mirrors, crystal balls, tea leaves. Only needed when planning on doing
While none of these things are required to
perform any spells, they can be helpful. No beginner should feel they have to
break the bank to get a bunch of items they may or may not use. Be wary of
materials of anything that will be touching your mouth or eyes. Cheap antique
metals especially can sometimes contain lead.
Used bookshops, thrift stores, flea markets and yard sales can be gold
mines for things to use in your craft.
Many practitioners believe in cleansing and
consecrating their tools before using them. They feel any strange energies
coming into their space that wasn’t invited can contaminate their spells. There
are as many methods of purification as there are stars in the sky, but some
common methods are
Ground, cast a circle and call whatever
energies into play that you wish to work with. Hold the item above your work
space and “sweep” or “cut” away any unwanted energies while calling for the negative
to be dispersed. Then you can set the item down onto your altar and fill it with good energies and intents.
Smoke cleansing, passing a fireproof item
briefly through candle flame, bathing in water (charged, rain or crystal water
are commonly used for this practice), leaving it in direct sun or moonlight for
a few hours or burying overnight in clean soil are also common ways of dealing
with negative energies. Some believe a simple spiritual wipe down is all you
I have heard some practitioners say the
repeat this process any time they use a tool in a ritual, and some simply when
they feel the need recharging.
Whatever process you choose, make sure it
is safe for you to use on the item and that you feel completely comfortable
doing it. If you go into it with uncertainty or negative feelings, you’ll just
be imbuing those into the item instead of cleaning it.
Now that you know what kind of tools you
might be using, you probably are curious what kinds of magic you can perform. I
by no means believe this is a completely comprehensive list. I’m only human
Astral work- The art of using one’s mind to
expand your presence and travel beyond one’s physical body.
Black/Dark/ Left Hand Path- This generally
is anything that falls outside of the realm of white magic. This can include
work that deals with death, blood, hexes, and gathering of power. Not always
evil, not always good. This sometimes includes working with demons or fae, but
certainly not always.
Cosmic- The use of planetary or celestial
bodies in influencing one’s magical workings.
Candle- The use of color and shape
correspondences in spells that use candles extensively.
Crystal/Stone/Lapidary- The use of
correspondences of types of stones and gems in spells, using the natural
energies found within rock.
Herbalism/Green magic- The use of growing
things to make your potions, spells and other magical workings. This generally
includes gardening at some point.
Kitchen/Hearth/Cottage- This is household
magic. Spells are woven into everyday cooking, cleaning and household tasks.
This is a very vast area of magic that can encompass many other sections.
Knot/Cord/String- The use of string and
cord for creating spells or charms. A very portable type of spellcasting.
Music/Sound- The use of singing, humming,
playing musical instruments or otherwise creating sounds for spells.
Divination- Attempting to foretell the
future through various means such as tarot, runes, scrying, reading tea leaves
Sigils, Symbols and Runes- Visual
representations of concepts and intents in one’s craft. This can include
esoteric alphabets and occult imagery.
Elemental- Working with one or all of the
elements to bring about one’s intentions.
Weather- Working in conjunction with and
influencing the weather
White/Light- Generally any magic that does
not fall into the somewhat unsavory realm of “bad” magic. This does not mean
this is the only right kind of magic to do.
There are literal hundreds of types and
branches of magic, including specific pantheons of deities that I am not going
to cover here, and ethnic or regional types of crafts. I always encourage you
to seek out more information on your own.
Before we wind down I want to go over some
other common terms that may or may not come up
Familiar- A companion, usually animal, that
serves as a host to a spiritual entity or energy. They assist with workings and
are generally good to have around. Please take good care of your familiars if
you have them.
Coven- A group of witches or practitioners.
You do not need one if you don’t want one, but they can be a great support
Spell- The working of magic itself.
Incantation- The spoken bit of the spell,
absolutely does not have to rhyme, though that can help with memory recall.
This can be in any language, though one you’re familiar with would probably be
Charm- An object that is created to hold an
enchantment, usually carried or worn by the intended recipient.
Channeling- The controversial process of
becoming host to another spirit of entity.
Three Fold Rule- The idea that whatever you
send out will return to you three times over. This applies to both the good and
Potion- A mixture of ingredients usually
meant to be swallowed by the person the magic is supposed to effect. Please
never make a potion out of toxic or dangerous ingredients.
Ointment/Salve- Lotiony sort of stuff that
goes on your skin.
Poultice- Soft wet mass of stuff you put on
your skin. Usually contains herbs and other ingredients bound together with
moss, gauze or flour and held on with a cloth wrapped around the body part
Correspondence- The relation between an
item and the energy it influences. Like a type of stone being handy for working
with psychic energies, or healing. Black candles being good for banishment and
cleansing. These are not always agreed
upon by every magic user.
Enchant- to fill an item with energy or
Grounding- The release of negative energy
and reaffirming one’s personal boundary of energy and influence
Sabbat- A festival, holiday or gathering
for celebratory or ritual reasons
Pentagram vs Pentacle – If you are involved
in craft that uses the star in the circle emblem, you should know that a
pentagram is just the star, the pentacle is the whole thing within the circle.
Calling it a pentagram makes you look like an ill informed goth kid. Always be
a well informed goth kid.
Casting a circle- the act of creating both
physical and metaphysical barriers for energies.
Shielding/ Warding- the creating of a
protective barrier between your target and bad/unwanted things.
Binding- The attempt to hold someone or
something and keep it from performing any harmful or unwanted actions.
Banishment/Purification- Casting out of bad
energies or influences
Calling the Corners- The concept that the
cardinal directions correspond to guardians or spiritual entities and calling
upon them to serve as protectors for a ritual
Offerings/Sacrifices- Objects that are
surrendered to an entity. Do not perform any kind of animal or blood sacrifice
without fully understanding what you are doing and warning anyone else that
might be involved in the process. Food, drinks, gifts and offerings of effort
are generally more than enough to appease deities or spirits.
Please if you have any questions, please
let me know. I will not be answering any questions about specific regional or
cultural craft that I am unfamiliar with, but will try to find you resources or
someone to speak to about them.
We will be reconvening for class on Sunday
to do basic spellwork and go over some common correspondences. We will be doing
a simple protection charm so please find an item you wish to enchant. It can be
an item you use and keep on you daily or a found item. Any other things you
would like to bring to share with the class of your own workings would be
wonderful. Thank you and I hope you learned something new.
Most of the time, I try to do spellwork with the intent aligned with a specific element in order to use the energy of that element.Here are some ideas for choosing a type of spell based on its elemental
charge herbs, stones, etc and throw into a
moving body of water, such as a river, stream, or ocean. You can use a pond or
lake, but I think the moving water has more effect.
Take a ritual bath with oils or herb blends
suited for your purpose. The bath itself is cleansing, and soaking in the
herbs, oils, and water while focusing on intent/chanting can be super powerful.
Carve runes or sigils into soap or bath bomb and
use in bath. As the runes/sigil disappear, the spell is released.
Draw sigils into dirt with a stick/finger, let
rain wash it away or pour water over it to release (this is also an earth
Make teas/potions with edible(be careful!) herbs
Do a blessing or chant over wine or other
beverages for yourself or to share any time (kitchen witchery is fantastic!)
Wash items with blessed and charged water to
cleanse and purify. This can be ritual tools or just anything that you feel
needs to be cleansed of negative energy.
Carve names, words, runes or sigils, into fruit
and bury in a pot of dirt or in the ground. Good for things that you want to
have manifest slowly.
For permanent effect, bury something that will
not decompose, such as a stone or a glass bottle filled with items, herbs,
Carve spells into wood or burn symbols into
Recharge stones by burying them in dirt, sand,
Collect dirt or sand from locations with good
energy to use in rituals
Cooking! Specifically baking. (this can also be
a fire spell, depending on what your’re making)
Place charms and other charged items in high
locations or tie them onto tree branches
Astral or dream work
Create wind chimes or charms to hang in windows
or outside near your home
Use incense to cleanse items and banish negative
energy from your home
Write sigils, names, words, runes, etc on paper
and burn. This can be used for manifestation or banishing
Use bonfires to raise energy
Fire gazing or fire scrying
Burn carves wax figures for banishing
Write on bay leaves and burn or place on an incense
These are just my associations and methods that I find useful. There are of course countless other options!
Hey, do you know any curses/binding spells to make someone lose inspiration for something? It wouldn’t have to be too intense. Thanks~
I didn’t happen to know of any curses specifically for this, nor was I able to find any either. Rather than send another anon off with another “I can’t help, I’m sorry” message, I took this as an opportunity to actually make some original content. And figures, it’s a curse.
So, here we go!
A Curse to Lose Inspiration
Create a poppet of your target. Insert a taglock in its chest, or draw a likeness of their face on the poppet’s head.
Some ideas for taglocks:
hair, nail clippings, a copy of their handwriting, an object of theirs, a picture of them, a copy of their fingerprint, etc.
Draw a curse sigil for losing inspiration and wrap it around the taglock. Alternatively, draw it on the back of the poppet’s head, opposite of the face (if you drew one).
Fill the inside of the head with cotton balls, to fog up their mind and muddle their thoughts. You could, alternatively, tangle up some string into a ball to have their thoughts tangled and confused.
Weigh down the poppet’s limbs with sand or dirt, so the target is heavy, sluggish, and unmotivated to do the things they need to do.
If you have access to any [poisonous herbs], you can put some in the chest of the poppet to “poison” their creativity and drive.
Remember to always, always, always research any poisonous herbs you plan to use thoroughly, and take whatever precautions necessary to keep yourself safe - you don’t want to hurt yourself just to hurt someone else!
Seal the poppet shut, with the intentions of trapping all the negativity inside them, and preventing any inspiration from going in.
Finally, pop that poppet in a jar, and fill it with honey or molasses - some sort of viscous liquid - to keep the target stuck.
Put the jar in a dark place, to keep them in the dark.
You just want to drag the stars down and stick them underground, underneath tons of sand and dirt, and label them. You’re about as far from the stars as you can get. And you took her down with you. She was nineteen years old.